UNIVERSITY  OF  CALIFORNIA 
AT  LOS  ANGELES 


UNiVEKSi'l'Y  of  CALIFUKNXA 

-V  1 

LOS  ANGELES 
LIBRARY 


STUDIES  IN 
THE  MILTON  TRADITION 


BY 

JOHN   WALTER  GOOD 

A.  B.  Erskine  College,  1902 
A.  M.  Erskine  College,  1904 


THESIS 
Submitted  in   Partial  Fulfillment  of  the  Requirements  for  the 

Degree  of 

Doctor  of  Philosophy 

in  English 

IN 
THE  GRADUATE  SCHOOL 

OF  THE 

UNIVERSITY  OF  ILLINOIS 

1913 

Reprinted  from  tlie 

Cnivei'sity    t>f    Illinois    Studies    in    Languages    and     r.iteraturc 

Volume   1.    Nos.    3   and    4 


28 


•  7  7     2 


i 


3  2 ::  s 


CONTENTS 

CHAPTER  I 

Introductory  Survey  of  the  Field ii 

1  Milton's  reputation  during  Restoration  Period ii 

1  General  sense  of  neglect,  with  special  credit  to  the  services  of  Addison....  12 

2  Attempted  explanation  of  neglect 13 

3  Research  into  questions  of  reputation IS 

2  Common  views  of  Milton's  influence 17 

1  Productive  influence  denied  to  his  Epics 18    -^ 

2  Influence  worked  out  along  the  lines  of  the  Romantic  Movement  laid          ''^ 
down  by  Professor  Phelps  and  Professor  Beers 18     y 

3  The  Nature  and  Purpose  of  the  present  Studies 22 

CHAPTER  II 

Publication  of  Milton's  Works 24 

^-  I     Paradise   Lost 25 

2  Paradise  Regained 31 

3  Samson  Agonistes 34 

4  Comus 35 

5  Lycidas    (^ 

6  L' Allegro  and  //  Penseroso  (Companion  Poems) >2S'~/' 

7  Other  Minor  Poems - - 40 

8  English  Poems  in  Latin  Translations  (184-192) 41 

9  The  Prose  Works 43 

10    Summaries 34  49 

CHAPTER  III 

Poetical  Tributes  to  Milton 51  -^ 

CHAPTER  IV 

BiOGRAP'fiicAL  Treatment  of  Milton 112 

1  Allusions  before  Paradise  Lost  (1667) 112 

2  John   Aubrey's   Notes _ 1 13 

3  Earliest  Life  (Dr.  Paget?) 113 

4  William  Winstanley   (1687) 114 

5  Anthony  A.  Wood  (1691-2?) US 

6  Gerard  Langbaine   (1691) IIS 

7  Addison  (1694),  Yalden  (1698),  Blount  (1694) 116 

8  Edward  Phillips  (1694) 1 16 

9  John  Toland   ( 1698) I16 

10  Gilbert  Burnet,  History  of  My  Oivn  Times  (1700?) 118 

11  A  Complete  History  of  Europe  (1705) I18 

12  Bp.  White  Kennet,  Complete  History  of  England  (1706) 119 

13  Thomas  Ellwood,  The  History  (1714) 119 

14  Giles  Jacob,  The  Poetical  Register  (1719-20) 119 

15  Elijah  Fenton   ( 1725) 120 

16  Daniel  Neal,  History  of  the  Puritans  (1733) 122 

5 


17  Jonathan  Richardson   (1734) 123 

18  Rev.  Thomas  Birch,  D.D.  (1738) 124 

ig     Rev.  Francis  Peck  (1740) 127 

20  Martha  Whincop   ( 1747) - 127 

21  Rev  Thomas  Newton,  D.D.  (1749) 128 

22  Theophilus  Cibber  (1753) 129 

23  David  Hume,  History  of  England  (1756) 130 

24  William  Harris.  Histories  (1753-1766) 132 

25  Mrs.  Cath.  Macaulay  Graham,  History  of  England  (1763) I33 

26  John   Bell    (1777,   1796) I33 

27  Dr.  Samuel  Johnson  (1779) 134 

28  Dr.  Robert  .Anderson  (1783) 136 

29  William  Hayley  (1794),  J.  Bell  (1796) 137 

30  Rev.  John  Evans  (1799) 137 

31  Rev.  Henry  J.  Todd,  D.D.  (1801) 137 

32  John   Aiken    (.1798-99) 138 

33  Concluding  Summary 138 

CH.^PTER  V 

Criticism  to  1730.    Rank  Established 140 

—  I     Early  indifference  to  the  Minor  Poetry 140 

2  Early  antagonism  to  the  Prose  Writings 142 

3  Gradual  and  triumphant  rank  through  Paradise  Lost 143 

1  Friendly  and  favorable  notices 144 

2  .■\dvantageous   political   changes 145 

3  Advancement  by  formal  criticism 146 

1  Condemnation  by  ultra-classicists 146 

2  Attitude  of  Dryden,  inspiring  confidence 146 

3  Moral  reformation  and  John  Dennis _ 148 

4  Enthusiasm  of  Cliarles  Gildon 150 

5  Neo-Classical  attitude 150 

1  Richard    Steele 151 

2  Joseph    Addison 152 

3  Voltaire 155 

4  Pomfret,  Hughes,  Bysshe,  Budgell,  Gay,  &c 157 

5  General  recognition  of  Milton's  superior  genius 158 

6  Paradise  Lost  considered  a  Divine  Poem 159 

f       4    Defense  of  Blank  Verse 160 

„-      I     Milton   versus   Dryden 160 

2    Thomas  Rhymer,  and  extreme  opposition 162 

_  3    Inferior  rank  allowed.     Deluge  of  couplets 162 

4     Blank  verse  exalted.     Thought  vs.  Form.    Rhyme  condcnuied 163 

I.    Gildon,  Watts,  Benson,  Roscommon 164 

2     Phillips,  Lansdowne,  Atterbury 164 

4  Concluding   Summary _ 166 


V 


CHAPTER  VI 

Controversies  and  Explanations.    1730-1765 167 

1  Minor  Poems  made  familiar 167-173  """ 

2  Prose  Works  made  popular I73-I7S 

3  The  Epics  defended  and  explained 175 

1  Critical  editions 176-179 

1  Hume    (169s) 29,    148,  176 

2  Tonson-Addison  ( 1719) 176 

3  Fenton  ( 1725 ) 177 

\^4     Bentley   (Controversy)    (1732) 176-179,  185 

5     Hawkey    ( 1747) 1/9 

2  Critics  and  Commentators 179-182  ^\ 

1  Clarke    (1731) 1/9  8    "F.T."    (1739) 180    j 

2  Swift    (1732) 179  9     Smith   (1739) 180    ' 

3  Jortin   (1734) 179  10     Peck    (1740) 180 

4  Richardson   (1734) 179  11     Paterson    (1744) 181 

5  Shenstone   (1735) 180  12    Green   (1745) 181     ' 

6  Pemberton    (1738) 180  13     Stillingfleet  (174—) 182  ' 

7  Benson    (1713,  39) 180 

3  Critical  editions  continued 182 

1  Newton    (1749) 182  4    Donaldson  (1762) 182    1 

2  Callander    (1750) 182  s    Wood   (1765) 182/ 

3  Marchant  (1751) 182 

4  Critics  of  Paradise  Regained 182-183 

1  Phillips  (1694) 182  4    Warburton    (1738) 183 

2  Meadowcourt  (1732) 183  5     Anonymous    (1741) 183 

3  Jortin   (1734) 183  6     Newton    (1752) 183 

5  Popular  re-action 183-184 

6  Religious  Controversy  (Appendix  E) 184 

7  Lauder  Controversy 184-192 

8  Later   Criticism 192-197 

1  Goldsmith   (1757) 192  8    T.  Warton   (1754) 194 

2  Hughes    (1750) 193  9    J.  Warton  (1756) 194 

3  Johnson  (1751) 193  10    Poetical  Scale  (175S) 195 

4  Hurd    (1751) 193  II     Lyttelton   (1760) 196 

5  J.  Warton  (1753) 193  12    W.  Massey  (1761) 197 

6  Cooper  (1755) 194  13     W.  Dodd 197 

7  D.  Swift  (1755") 194  14    J.  Scott 197 

9  Familiar  Use  in  Illustrations 197-199 

1  Johnson  (i7S5) 198  5     D.  Webb  (1762) 198 

2  Burke  (1756) 198  6    Watkinson    (1761) 199 

3  J.  Moor  (1760) 198  7     H.  Blair 199 

4  Kames    (1762) 198  8    Leland    (1764) 199 

10  Blank  Verse  Controversy 200-208 

I     Poetical  criteria.     Content  vs.  Form 200-202  j 

1  "Old  Man"  (1737) 200  I 

2  Pemberton    (1738) 201  / 

3  J.  Mason  (1749) 201 

7 


4  Johnson     ( 1755) 201 

5  Karnes  and   Webb 201 

2     Poetical  liberties  of  blank  verse  vs.  rhyines 202-208 

1  Blank  verse  poetry  cited 203 

2  Critical  authority  cited : 

1  A.  Hill    (1/54) 203 

2  J.   Byrom    (1755) 203 

3  J.  Warton  (1756) 204 

4  R.  Colvill   (1757) 204 

5  T.  Newcomb  (1757) 204 

6  Dr.  Young  (1758) 204 

7  Kanies  and   Webb -  206 

CHAPTER  VII 
Romantic  Application  of  Milton 209 

1  Interests  in  Minor  Poems — mainly  scholarly 209 

1  Samson   Agonist es _ 209 

2  L'AUcgro  and  //  Penscroso 211 

3  Lycidas  and  Camus.    Dr.  Johnson 212 

4  Re-action  against  Johnson.    Warton,  Scott,  &c 213 

2  Influence  of  Milton's  larger  message  upon  Romanticism 217 

<_^  I     Social    interests.     Correspondence 218 

1  Gray,  the  Wartons,  Mason,  Cowper 218 

2  Horace  Walpole _ 219 

—      2    Religion _ 220 

1  Support  of  orthodoxy,  but  more  of  liberalism 220 

2  Influence  upon  radicalism 220 

~         3    Encouragement  to  mysticism 221 

3     Political  agitation 222 

1  Relation  to  modern  freedom _ _ 222 

2  Particular  force  of  the  Epics 223 

3  Identification  with  Whig  interests 224 

4  Double  support  to  political  radicalism 225 

1  In  treatment  of  social  and  political  evils 225 

2  In  dreams  of  future  golden  age  of  democracy 229 

•""    4     Poetical  Form 230 

1  Confidence  in  blank  verse 230 

2  Limitations  assigned  to  rhyme.     Milton's  Verse 230 

3  Opposition — Goldsmith,  RufThead,  Darwin,  Johnson 232 

4  Re-action  of  liberals — Mason,  Knox,  KoUctt,  Cowper 233 

5  Triumphant  study  of  blank  verse.     Summary 234 

.S     Standards   of    literary   criticism , 235 

1  Milton's  excellence  unassailable 235 

2  Standard  of  merit — used  by  Johnson,  Warton,  Mickle,  Mason 236 

6    Inner  spirit  of  Romanticism 237 

1  Orientalism _ 237 

2  Gothic! sni 237 

,  3    Medieval  Romances 237 

\l  4     Descriptive  tendencies.     Mystic  view  of  Nature 238 

8 


7    The  spirit  of  Poetry 239 

1  Heroic  couplets 239  —^ 

2  Springs  of  poetic  activity 239 

3  Imaginative    element 239 

4  "High    seriousness" 240 

3     Ideality  the  source  of  Milton's  power.    Vision  of  Moral  Order 241    «• 

I     Dream  of  ideal  liberty 241       1 

\/2    Emphasis  upon  universal  relations  of  Man 243 

3  Exaltation  of  inner  righteousness 244 

4  Vivid  and  powerful  mysticism 245 

5  Moral  end  of  education 246 

6  The  "Divine"  inspiration  of  Poetry 247 

7  Summary - 248 

Conclusion 249 

APPENDIX 

A     Milton's  History  of  Britain 251 

B     Milton's   Blindness 252 

C     Mrs.  Macaulay's  Estimation  of  Milton 255 

D     Addison's  Critique  in  the  i8th  Century 256 

E     Controversy  about  Milton's  Religion 259 

F     Notes  on  Milton's  Sources 261 

G     Religious  Titles 263 

H     Educational   Titles 265 

I     Milton's  Eden  and  English  Landscape  Gardening 268 

J     Milton's  Monument,  Grave  and  Family 274 

BIBLIOGRAPHY 279 


CHAPTER  I 

Introductory  Survey  op  the  Field 

The  question  of  Milton's  popularity  during  the  Restoration  Period 
has  had  an  interesting  development.  The  earliest  recorded  opinions  on 
this  subject  seem  to  belong  to  the  generation  that  succeeded  the  Restor- 
ation, and  almost  unanimously  proclaim  Milton  unpopular  during  that 
period.  The  men  who  seem  most  responsible  for  this  early  view  are 
Sir  Richard  Blackmore  and  John  Dennis.  While  Addison  had  formally 
assumed  a  general  popularity  in  the  Introduction^  to  his  Spectator 
Papers  on  Milton,  yet  it  soon  became  conventional  to  speak  of  Addison 
as  therein  introducing  Milton  to  the  English  reading  public.  As  early 
as  1716,  there  is  little  doubt  that  Sir  Richard  Blackmore  had  some 
special  reference  to  Addison  in  the  following  quotation : 

"It  must  be  acknowledged  that  till  about  forty  j'ears  ago,  Great  Britain  was 
barren  of  critical  learning,  the'  fertile  in  excellent  writers;  and  in  particular  had 
so  little  taste  for  epic  poetry  and  was  so  unacquainted  with  the  essential  properties 
and  true  beauties  of  it  that  'Paradise  Lost',  an  admirable  work  of  that  kind, 
published  by  John  Milton,  the  great  ornament  of  his  age  and  country,  lay  many 
years  unspoken  of  and  entirely  disregarded  till  at  length  it  happened  that  some 
persons  of  great  delicacy  and  judgment  found  out  the  merit  of  that  excellent  poem 
and  by  communicating  it  to  their  friends  propagated  the  esteem  of  the  author  who 
soon  acquired  universal  applause."- 

The  address  of  John  Dennis  To  Judas  Iscariot,  Esq.(i.  e.  Mr.  Booth),  On 
the  Degeneracy  of  the  Public  Taste  (May  25,  1719)  deals  largely  with  the  neglect 
of  Milton,  affirming  that  "the  great  Qualities  of  Milton  were  not  generally  known 
among  his  Countrymen  till  the  Paradise  Lost  had  been  published  more  than 
thirty  years."^ 

In  1721  Dennis  declared  that  ''Paradise  Lost  had  been  printed  forty 
J'ears  before  it  was  known  to  the  greatest  part  of  England  that  there 
was  such  a  book."*  These  statements  readily  appear  not  to  refer 
exclusively  to  the  work  of  Addison.    Nor  are  they  now  understood  as 

'Spectator,  No.  262.     Dec.  31,  171 1. 

^Sir  Richard  Blackmore  (d.   1729).     Essays,  1716.    Quoted  by  C.  W.  Moulton, 
Lib.  Lit.  Criticism.     IL    p.  258. 
^Letters,  1721.    L     70-80. 

*John  Dennis   (1657-1734).     Letters,  1721,     \,     174. 

IJ 


12  THE    MILTON   TRADITION  [104 

intended  to  be  more  tlian  comparatively  true.  The  high  standards  of 
Dennis  especially  were  far  in  advance  of  his  age ;  and  such  men  seriously 
consider  only  just  artistic  appreciation.'  But  their  words  seem  not  to 
have  had  this  important  qualifieation  in  tlie  mind  of  their  earliest 
readers. 

Just  ten  years  later  (1731),  tlie  same  opinion  is  set  forth  by  Aaron 
Hill,  who  speaks  ironically  of  the  judicioiis  English  nation  receiving 
great  glory  "from  our  stupid  insensibility  to  such  a  prodigious  Genius  as 
Milton's,  who  had  been  thirty  years  dead  before  the  force  of  his  Poetry 
began  to  take  Life  among  us."  Then  he  deprecates  the  false  taste  that 
makes  England  ridiculous  to  foreign  nations,  in  that  she  now  exalts 
Blackmore,  and  rewards  "a  rumbling  Rhapsody  which  debases  kings  into 
Prize-fighters,  and  does  indignity  to  Ilinuan  Nature,"  whereas  there 
was  only  "Contempt  expressed  by  the  same  wise  Judges,  a  little  before, 
for  that  God-like  fire,  in  the  Paradise  Lost,  where  the  Divine  Nature 
seems  heightened,  till  it  appears  more  Divine,  and  man  is  rendered 
capable  of  giving  Glory  to  the  Angels."" 

For  neglecting  to  conform  to  this  degenerate  taste  of  the  Restor- 
ation Period,  says  tlie  introductory  paper  of  The  True  Patriot,'  "Milton 
himself  lay  long  in  obscurity,  and  the  world  had  nearly  lost  the  best  poem 
which  it  hath  ever  seen."  With  this  general  sentiment  Horace  Walpole 
is  in  agreement  when  he  asserts  (ITf)?),  that  "Milton  was  forced  to 
wait  till  the  world  had  done  admiring  Quarles."'  In  the  "Epistle 
Dcdicatori/,"  referred  to  above,  Aaron  Hill  had  spoken  plainly  of  the 
national  disgrace  in  that  some  great  man  of  means  did  not  seize  the 
opportunity  of  rendering  liimself  innnortal  by  a  noble  patronage  of  the 
great  Milton.  This  thought  runs  through  the  lines  of  Moses  Mendes,  in 
his  Epistle  to  Mr.  S.  Tucker  (1767) : 

All  this  I  grant :  but  does  it  follow  then, 

That  parts  have  drawn  regard  from  wealthy  men  ? 

Did  Gay  receive  the  tribute  of  the  great? 

No,  let  his  tomb  be  witness  of  his  fate: 

For  Milton's  days  are  too  long  past  to  strike; 

The  rich  of  nil  times  ever  were  alike." 

This  sen.se  of  an  early  neglect,  wliieli  caused  Milton  to  be  regarded 

"A.  W.  Verity.    Milton's  Samson  Agonistcs.    Introduction,  l.x-lxi. 

"Aaron  Mill   (1684-1750).    Advice  To  The  Poets.    A  Poem.     1731.     x. 

'Quoted  in  the  Gent.  Mag.    Jan.,  1746.    16  :g. 

•H.  Walpole  (i7i7-i797).  To  George  Montagu.  Aug.  25.  17^7.  F.<l.  Toynbe. 
iv.  88.    Cf.  To  the  Rev.  \Vm.  Cole.    Dec.  10,  1775.    ix.  29.1. 

»Moses  Mendes  (d.  1758).  ,-/.  C(fl.  Of  the  }tost  Esteemed  Pieces  of  Poetry. 
Sec  Cr.  Rev.     Nov.,  1767.     24:357-361. 


105]  INTRODUCTORY   SURVEY    OP   THE    FIELD  13 

as  both  the  shame  and  the  pride  of  the  nation,  ran  through  the  entire 
Eighteenth  Century/"  More  and  more  firmly  the  nation  came  to  fix  upon 
the  highly  prized  Critique  by  Addison  as  the  turning  point  of  Milton's 
fame  from  evil  days  and  evil  tongues  to  national  honor  and  immeas- 
urable glory.  The  full  force  of  this  national  opinion,  mistaken  though 
it  was,  will  appear  in  a  later  connection,  where  the  whole  matter  of 
Addison's  criticism  will  be  brought  into  formal  review.'^  It  is  enough, 
for  the  present,  to  observe  that  this  mistaken  view  prevailed,  and  that  it 
still  persists. 

Mr.  Perry  (1883)  doubts  that  Milton  could  ever  be  a  popular  poet; 
and  yet  he  affirms  that,  because  courtly  literature  was  so  far  removed 
from  the  common  people,  the  populace  read  the  Bible,  and  Bunyan,  and 
Paradise  Lost.  But  in  general  Mr.  Perry  regards  Milton  as  "the  lonely 
singer  of  a  fallen  cause,"  and  speaks  of  "the  indifference  with  which 
that  great  poet  was  treated  by  his  contemporaries. '"- 

Professor  Beljame,  in  his  treatment  of  Addison  (1897),  says:  — 
"On  a  deja  vu  comment  Shakespeare  avait  ete  ou  mis  de  cote,  ou,  pis  encore, 
irrespectueusement  defigure ;  ses  contemporains  et  ses  predecesseurs  les  plus  illus- 
tres  n'avaient  pas  ete  niieux  traites.  Enfin  le  seul  poete  nouveau  qui  meritat  d'etre 
cite  a  cote  d'eux,  I'auteur  du  Paradis  t>crdu,  n'  avait  guere  recueille  que  le  silence 
et  r  indifference.  Ce  fond  solide  et  vraiment  anglais  avait  ete  submerge  par  la 
litterature  futile  de  la  Restauration."  Again  he  says  of  Addison's  attempt  to 
revive  neglected  native  English  literature :  "II  parla  avec  admiration  a  ses  lectures 
de  Shakespeare,  de  Spenser,  de  Bacon,  de  Ben  Jonson,  surtout  de  Milton,  au 
chef  d'oeuvre  duquel  il  ne  consacra  pas  moins  de  dix-huit  articles  qui  sont,  apres 
r  edition  de  Tonson  dont  j'ai  deja  parle,  la  premiere  reparation  faite  par  I'Angle- 
terre  au  pauvre  grand  poete  mort  dans  I'eubli.''^^ 

Eobert  Poscher,  in  his  Andrew  Marville  Poetische  Wcrke  (1908), 
holds  that  Milton  was  little  known  and  recognized  before  the  work  of— 
Addison."  Professor  Courthope  (1909)  affirms  that  Addison's  "Papers 
on  Milton  achieved  the  triumph  of  making  a  practically  unknovtTi  poem- 
one  of  the  most  popular  classics  in  the  language."^'*  Thus  tenacious  has 
been  the  idea  of  Milton 's  early  neglect,  and  of  his  later  popular  installa- 
tion by  Addison,  in  its  hold  upon  the  English  mind. 

Granting  for  the  time  this  neglect,  the  next  impulse  was  to  explain 
it.  With  a  love  for  Milton  that  was  little  short  of  idolatry,  the  Eigh- 
teenth Century  felt  that  there  was  some  special  degeneracy  in  an  age 
that  failed  to  recognize  the  merits  of  a  Milton.    Hence  there  was  a  vital 

loPoetic  Tribute  No.  179.    Chapter  III  below. 

iiPages  152-155  and  Appendix  D. 

'^T.  S.  Perry,  Eng.  Lit.  in  the  l8th  Cent.,  pp.  34,  40,  162. 

i^Alex.  Beljame.    Addison:    Le  Public  et  Les  Hommes  de  Lettres,  pp.  315-317. 

i^Weiner  Beitrage,  Englischen  Philogogie,  vol.  xxviii   (1908).     p.  118. 

'''W.  J.  Courthope,  Addison:  Eng.  Men  of  Letters  Srs.,  v.,  p.  181. 


J4  THE   MILTON    TRADITION  -  [106 

connection  between  this  inquiry,  and  the  great  political,  social,  and 
ecclesiastical  attempts  to  pry  into  and  reconstruct  seventeenth  century 
English  History.  There  was  a  general  tendency  to  publish,  and  repub- 
lish every  item  accessible  that  bore  upon  English  life  during  those 
(roublous  times;  and  it  seems  that  no  opportunity  was  missed  of  empha- 
sizing the  bearing  of  each  new  publication  upon  tlie  status  of  Milton. 

Often  there  was  more  emotion  than  scholarship  applied  to  this 
problem,  giving  rise  to  such  execrations  as  that  of  Aaron  Hill  already 
cited,  and  of  others  whose  feelings  will  appear  in  later  j)ages  of  this 
discussion.  The  nation  became  sensitively  critical  of  Restoration  mor- 
ality and  politics.  Thus  the  MontJihj  Review  pronounced  Buckingham's 
Character  of  Charles  II  (1750)  good  and  adequate,  but  extreme,  if  at 
all,  on  the  charitable  side.'"  The  nation  eoidd  never  be  reconciled  to  the 
trifle  which  Milton  received  for  Paradise  Lost;  yet  it  was  agreeil  tliat  tlie 
price  paid  "was  more  than  the  purchaser  had  any  reasonable  prospect 
of  being  speedily  reimbursed"  in  such  an  age.'"  Perhaps  this  national 
feeling  is  connecteil  not  remotely  with  the  demand  for  Butler's  Satires, 
in  Tliyer"s  edition  of  Th(  (lenuine  Remains  in  1759.'" 

But  during  the  latter  half  of  the  Eighteenth  Century  mere  feeling 
gave  place  to  sober  investigation  and  scholarly  judgment.  Students  of 
the  problem  began  to  grapple  with  the  real  questions  of  historical  causes 
and  effects.  On  a  large  .scale  tliis  appears  in  the  histories  of  the  Seven- 
teenth Century,  of  which  this  period  producetl  a  considerable  n\imber. 
But  in  a  more  limitctl  manner  sucli  studies  appeared  in  the  periodical 
literature  and  essays  of  the  time. 

In  tlus  less  pretentions  numiier.  Mrs.  Barbaidd  attemitted  to  explain 
tile  unpojiularity  of  ^Milton  on  a  historieal  basis  of  imlitieal  views  and 
literary  taste.'"  Most  critics,  knowing  the  moral  austerity  of  Milton, 
tended  to  explain  his  unpopularity  on  purely  moral  grounds.  One 
ascribes  the  innnoral  condition  of  the  Ilt'storation  to  a  deep  natural 
tendency  of  the  human  mind  to  re-aet  from  any  overstrained  condition.-" 
This  period  pr4'sented,  in  so  far  as  court  intlnence  was  dominant,  a  solid 
immoral  front  to  Puritanism,  and  to  all  that  Milton  held  dear.  Another 
finds  that  "Milton  liimself  was  imder  a]iiireliension  that  liis  ])oem  was 

"Mo.  Rev.,  May,  1750,  3:38-4;- 

^'H^ks.  of  Jas.  Thomson.  Mo.  Rev.,  April,  1762,  26:298-305. 

"Sam'l  Butler  (1612-1680),  The  C-iiuiiic  h'l-iiKiiiix  in  I'l'rs,-  ii;i(/  Prose.  In  »' 
vols.     By  R    Thyer.     I.ondon,  I7.S9- 

'•Mrs.  Anna  L.  Barbauld  (1743-1825).  ll'orhs.  liosloii,  iSj6,  v.  .?,  Criliial  Es- 
says on  the  Taller,  Sfeelnlor,  <.'re.,  pp.  95-96. 

The  same  argiiincnt  of  low  taste  appi-ars  in  Milton  .ifler  .?(io  Years  (II). 
By  "P.  E.  M."     The  iXalioit,  87 :542-54S. 

"R.  Smith,  Mieroeosiii,  No.  13,  Feb.  ly.  17!^;.  /?'■"■  Ils.wyists,  ed.  /S.'",  vol. 
xxviii,  pp.  77-83. 


107]  INTRODUCTORY   SURVEY    OP    THE    FIELD  15 

produced  too  late  for  admiration,  if  not  for  excellence."-'  Rev.  Thomas 
Munro  discovers  a  kind  of  debased  consistency  running  through  the  wits 
of  this  period,  whose  loves  and  writings  alike  were  characterized  by 
immorality.  "They  seemed  to  have  agreed,  as  it  were,  with  universal 
consent,  that  a  tale  of  humor  was  sufficient  knowledge,  good-fellowship 
sufficient  honesty,  and  a  restraint  from  the  extremes  of  vice  sufficient 
virtue."--  William  Hayley  affirms  that  "the  indecent  acrimony  with 
which  Milton  carried  on  his  literary  controversies  is  in  part  justly  im- 
puted to  the  spirit  of  the  times.  "-^  Tlius  would  Hayley  lay  the  very 
sin  of  Milton  for  which  the  age  hated  him  at  the  very  door  of  tliat  age. 
But  Joseph  Warton  insisted  upon  emphasizing  the  factors  of  literary-  " 
taste  as  the  proper  solution.  In  his  Works  of  Alexander  Pope  (1797),  he 
says,  "It  was  too  great  attention  to  French  criticism  that  hindered  our 
poets,  in  Charles  II 's  time,  from  comprehending  the  genius,  and  l>^ 
acknowledging  the  authority  of  Milton ;  else,  without  looking  abroad,  they 
might  have  acquired  a  manner  more  correct  and  perfect  than  the  French 
authors  could  or  can  teach  them."'* 

This  general  sketch  will  serve  to  show  one  line  of  activity  that 
engaged  considerable  attention  throughout  the  Eighteenth  Centui'y.  Much 
material  on  this  subject  will  appear  incidentally  in  the  following  pages. 
A  more  important  line  of  activity  is  now  to  be  mentioned.  It  is  that  of 
real  research  into  the  problem  of  Milton's  early  popularity.  This  has 
been  a  process  of  constant  evolution  toward  formal  proof  that  Milton 
was  not,  in  view  of  the  facts,  so  unpopular  as  he  has  been  supposed. 

In  1713,  John  Hughes,  in  dedicating  his  edition  of  Spenser's  Works 
to  Lord  Sommers,  said,  "It  was  your  Lordship  encouraging  a  beautiful 
edition  of  Paradise  Lost  that  first  brought  that  incomparable  poem  to  be 
generally  kno^vn  and  esteemed."-^  Jonathan  Richardson,  in  1734,  ob- 
served the  "current  opinion  that  the  late  Lord  Sommers  first  gave  this 
Poem  a  reputation,"  but  undertook  to  show,  by  several  anecdotes,  that 
the  poem  was  "known  and  esteemed  ....  before  there  was  sueli  a  man 
as  Lord  Sommers."    This  author,  however,  accorded  high  praise  to  the 

2iMj..  Frere,  Microcosm,  No.  25,  May  7,  1787.  Brit.  Essayists,  ed.  1827,  vol. 
xxviii,  pp.  146-150. 

==Rev.  Thos.  Monro  (1764-1815),  Olio  Podrida,  No.  21,  Aug.  4,  1787.  Brit. 
Essayists,  1827,  vol.  x.xviii,  pp.  316-323. 

23Wm.  Hayley  (1745-1820),  The  Ptl.  IVks.  of  J.  Milton.  Quoted  in  the  Mo. 
Rev.,  Feb.,  1795,  97   (16)  :I2I-I2S. 

2*Jos.  Warton  (1722-1800),  The  IVks.  of  A.  Pope,  9  vols.  London,  1797.  Vol. 
I,  p.  265. 

2'John  Hughes  (1677-1720).  Wks.  of  Spenser,  3  vols.  London,  Tonson,  1713. 
"Dedication,"  p.  v.     Cf.  Tribute  85,  p.  74  below. 


16  THE   MILTON   TRADITION  [108 

work  of  Addisou  iu  this  eomiectiou.-"  la  his  Life  of  Milton  (1738), 
Thomas  Birch  argued  that  this  inagiiifieeiit  odition  of  Paradise  Lost  in 
1688  was  uot  a  cause  but  a  proof  of  popuhirity,  and  cited  auioug  other 
evidences  the  famous  subscription  list  in  support  of  his  contention.-' 
Birch  was,  as  it  seems,  the  first  biograplier  to  do  real  research  work  in 
connection  with  a  Life  of  Milton.  From  that  time  almost  every  account 
of  ^Milton  contributed  something,  incidentally  at  least,  in  the  way  of 
additional  facts. 

But  the  next  formal  effort  to  show  Milton's  early  popularity  was 
in  the  Life  of  Milton  by  Dr.  Samuel  Johnson  (1779).  lie  held  that 
Paradise  Lost  had  to  force  "its  way  in  a  kind  of  subterranean  current 
through  fear  and  silence"  until  the  restraints  of  public  appreciation  were 
removed  in  the  revolution  of  1688.  But  he  argued  from  tlie  publisher's 
contract  with  Milton  that  3,000  copies  were  sold  during  the  first  eleven 
years.-'*  The  contribution  to  this  study  by  Thomas  Wart  on  (1728-1790) 
marked  one  aspect  of  advancement  upon  all  preceding  works.  In  his 
Preface  to  Milton's  Minor  Poems  (1785,  and  1791),  Warton  devoted 
large  space  to  a  comparison  between  the  early  popixlarity  of  the  Major 
and  the  Minor  Poems  of  Jlilton.  Succeeding  Lives  of  Milton  touch  upon 
this  prol)liiu  :-'■'  but  the  next  substantial  eontrib\ition  was  in  the  thorough 
scholarship  manifested  in  The  Life  of  Milton,  prepared  by  II.  J.  Todd, 
for  his  Variorum  Edition  of  Milton's  Poetical  Works  (1801).  Todd 
left  little  room  to  doubt  a  reasonable  popularity  of  Paradise  Lost  at  an 
early  date ;  and  liis  conclusions  were  reinforced  by  the  findings  of  William 
Godwin  in  his  Lives  of  John  and  Edward  Phillips  (1809). 

The  results  of  these  labors  were  followed  and  enlarged  upon  by 
Professor  Masson,  in  his  exhaustive  History  of  the  Life  and  Times  of 
John  Milton  (1859-1880).  He  devotes  a  large  section  of  his  last  volume, 
less  exlianstivp  than  tlie  other  parts  of  tlie  work,  to  "Tlie  Posthumous 
Rejmtation  of  Jlilton."  This  reputation  rests,  according  to  Masson, 
largely  ujion  Paradise  Lost,  whose  extraordinary  merits  "about  the  be- 
ginning of  1669  ....  began  to  be  a  matter  of  talk  among  the  critics  and 
court-wits,  and  tlien  through  the  boundless  praise  of  it  by  Dryden  and 
Lord  Bnckhunst."-'" 

-'J.  Richardson,  Father  and  Son.  Life  of  Milton.  Exflaiuitory  Notes,  &c. 
1734-     PP-  cxvii-cxix. 

2'Rcv.  Thos.  Birch  (1705-1766).  An  Account  of  the  Life  and  Writings  of 
Mr.  John  Milton.  Prose  Wks.  (1738).  I.  pp.  xlvii,  &c.  This  suhscri|ition  list 
contains  500  names,  amonR  whicli  arc  cmnitcd  tlic  licst  lli.it  Ijik'^hkI  li.ul  in  that 
generation. 

"Saml.  Johnson   (1709-1784).     Life  of  Milton.     (G.  B.  Hill.)     T.     141-44. 

"Sec  the  Chapter  on   Biography  of  Milton. 

'"David  Masson    (1822-1907).     Life  of  Milton.     VI.     77S-840. 


109]  INTRODUCTORY    SURVEY    OP    THE    FIELD  17 

Later  biographers,  as  well  as  literary  historians,  have  been  content, 
as  a  rule,  with  the  labors  of  Professor  Masson.  Mark  Pattison's  Milton 
(1879)  is  concerned  more  witli  condensation  than  expansion.  Dr.  Rich- 
ard Garnett's  Life  of  Milton  (1890)  adds  a  valuable  Bibliography, 
compiled  from  the  British  Museum  Catalogue,  by  Mr.  John  P.  Anderson. 
Professor  W.  L.  Phelps  says  that  Addison  "was  not  the  first  man  to 
bring  Milton  into  notice.  Editions  of  Milton  had  been  regularly  supply- 
ing a  quiet  but  steady  demand.""^  Mr.  Elton  holds  that  "during  the 
days  of  Dryden,  Milton  was  not  an  influence — he  was  only  a  reputation, 
and  his  repute  was  that  of  one  misunderstood."^-  Professor  Beers 
agrees  that  "a  course  of  what  Lowell  calls  'penitential  reading'  in  Res- 
toration criticism  will  convince  anyone  that  the  names  of  Chaucer, 
Spencer,  Shakespeare,  and  Milton,  already  stood  out  distinctly  as  those 
of  the  four  greatest  English  poets.  "^^  Filon  has  a  section  devoted  to 
the  "Gloire  posthume  de  Milton,"  which  emphasizes  the  quality  of 
Milton's  few  admirers,  and  accounts  for  their  number  on  the  basis  of 
literary  taste.'* 

In  1909,  Mr.  R.  D.  Havens  took  up  this  question  of  Milton's  early 
reputation  for  formal  treatment  in  some  sections  of  his  Harvard  Thesis, 
and  made  substantial  contributions  to  the  subject.  He  finds  (1)  that 
Milton's  high  rank  was  almost  immediately  established,  that  he  was 
early  and  persistently  ranked  with  Waller  and  Cowley,  and  even  pro- 
nounced superior  to  either  of  them;  and  (2)  that  his  early  rank  is 
based  almost  exclusively  upon  the  Major  Poems,  and  Paradise  Lost  in 
particular.    He  estimates  that  4,000  copies  of  it  were  sold  before  1680.^' 

The  preceding  sketch  of  Miltonic  interest  during  the  Restoration 
period^'  is  a  sort  of  back-ground  upon  which  to  represent  the  no  less 
interesting  question  of  Milton's  influence  upon  Eighteenth  Century  life 

^'^The  Beginnings  of  the  English  Romantic  Movement  (1893).     p.  88. 

'-Oliver  Elton,  The  Augustan  Ages.     (1899.)     p.  206. 

^^H.  A.  Beers,  Hist.  Eng.  Rom.  in  the  18th  Cent.    p.  69n. 

2*Pierre  Marie  Augustin  Filon,  Histoire  de  la  Littcrature  Anglaise.  4  ed. 
1909.    Hachette,  Paris. 

3'R.  D.  Havens,  Seventeenth  Century  Notices  of  Milton,  and  Early  Refutation 
of  Paradise  Lost.  Englische  Studien,  igog.  40:175  ff.  The  present  writer  has  veri- 
fied most  of  the  materials  in  these  papers,  and  acknowledges  himself  much  indebted 
to  this  excellent  piece  of  research  done  by  Mr.  Havens. 

3«There  are  other  writings  on  this  subject.  Among  them,  the  Diet.  Natl. 
Biog.  ("Milton,"  p.  482),  and  the  Ency.  Brit.,  ed.  nth  ("Milton,"  p.  489),  follow 
Masson.  Professor  Saintsbury  deals  in  a  general  way  with  Milton's  early  repu- 
tation. A  Hist,  of  English  Prosody  (II,  474),  and  The  Canih.  Hist.  Eng.  Lit. 
(VII,  chap.  V.)-  Prof.  Edw.  Dowden  has  a  good  summary  in  his  Milton  in  the 
Eighteenth  Century  (1701-1750).     Proc.  of  the  Brit.  Academy,  igoy-S. 


18  THE    MILTOX    TRADITION'  [110 

and  letters.  Here,  however,  there  is  a  conspicuous  absence  of  many-sided 
opinions.  As  early  as  1819,  Thomas  Campbell,  while  allowing  that 
Paradise  Lost  was  not  early  neglected,  had  denied  to  it  any  productive 
influence  upon  literature  at  the  time  of  its  appearance.  It  "attracted 
no  crowd  of  imitators,  and  made  no  visible  change  in  the  poetical  practice 
of  the  age.  Milton  stood  alone  and  aloof  above  liis  times ;  the  bard  of 
immortal  subjects,  and  as  far  as  there  is  perpetuity  in  language,  of 
immortal  fame.""  Eighty  years  later,  as  already  stated,  Mr.  Elton 
declared  that  Milton  was,  during  the  days  of  Dryden,  not  an  influence, 
but  a  reputation.  These  very  words  may  be  used  to  indicate  what  seems 
to  be  the  prevailing  opinion  respecting  the  position  of  Milton's  Epics 
during  tlie  Eighteentli  Century.  It  is  usually  held  that  the  Paradise 
Lost  especially  enjoyed  a  great  reputation,  but  was  not  pre-eminently 
a  productive  influence. 

The  question  of  Milton's  influence  upon  this  period  has  been 
worked  out  almost  entirely  along  tlie  lines  of  the  Romantic  movement. 
And  from  tliis  point  of  view,  there  has  been  a  striking  unanimity  in 
limiting  the  discussion  of  that  influence  almost  exclusively  to  the  Minor 
Poems,  and  even  to  a  very  few  of  them.  The  responsibility  for  this 
general  view  seems  to  rest  largely  upon  Professor  Plielps  and  Professor 
Beers,  who  have  gone  into  this  subject  more  than  others,  and  have  said 
what  most  other  writers  have  been  content  to  repeat,  or  at  least  not  to 
contradict. 

In  1893,  Professor  Phelps  published  his  popular  book  on  The  Be- 
ginnings of  the  English  Romantic  Movement,  in  whicli  lie  considers  the 
movement  essentially  one  of  revolt  against  Augustan  standards.  Chap- 
ter III  of  this  book  deals  with  the  literary  "Reaction  in  Form."  In 
this  he  devotes  a  few  pages  (36  fF.)  to  the  use  of  blank  verse  in  the 
Eighteenth  Century,  concluding  that  "the  reaction  in  form  most  natur- 
ally took  the  shape  of  blank  verse  for  long  poems;  so  that  the  sympa- 
thizers with  the  Romantic  Movement,  consciously  or  luiconseiously, 
found  themselves  defending  blank  verse,  while  the  classicists  attacked  it 
vigorously."  Hut  lie  develo])S  Milto'n's  influence  in  Chapter  V,  which 
deals  with  "The  Literature  of  Melancholy."  His  view  in  this  chapter 
is  set  forth  in  the  following  introductory  statement: 

"We  do  not  today  think  of  Milton  as  a  Romantic  poet;  his  great  epic  would 
more  naturally  place  him  in  the  ranks  of  the  Classicists;  and  his  remarkable  de- 
votion to  the  study  of  Greek  and  Latin  authors,  with  the  powerful  influence  they 
had  upon  him,  would  seem  to  separate  him  widely  from  Romanticism.  To  the 
nun  of  the  eighteenth  century,  however,  his  message  was  Romantic.  He  was 
shunned   and   practically   neglected   hy   the    Augustans,    whose   Classicism    was    so 

•""Thos.  Campbell  {1777-1844).  F.ssay  on  Rng.  Poetrv.  Sl>ccimcns,  1819.  I. 
238. 


i>^ 


111]  INTRODUCTORY   SURVEY   OP    THE    FIELD  19 

thoroughly  Horatian ;  and  tliose  who  admired  him  did  so  more  on  account  of  the 
bulk  of  his  epic  and  its  theological  theme,  than  from  a  genuine  love  and  apprecia- 
tion of  his  poetry.  The  young  Romanticists  claimed  Milton  for  their  own ;  his 
name  was  a  rallying  cry ;  and  they  followed  him  in  thought,  language,  and  versi- 
fication. His  influence  cannot  be  traced  out  in  detail  so  clearly  as  Spenser's;  but 
it  was  a  quickening  force,  as  any  one  who  reads  eighteenth  century  minor  poetry 
may  see  for  himself.  I  have  already  spoken  of  his  influence  on  the  Reaction  in 
Form ;  his  blank  verse  was  steadily  imitated  and  did  much  toward  dethroning  the 
couplet ;  his  octosyllabics  were  still  more  effective,  and  his  sonnets  leavened  Eng- 
lish poetry  after  1750.  But  it  was  not  so  much  in  form  as  in  tliought  that  Milton 
affected  the  Romantic  Movement ;  and  although  Parndise  Lost  was  always  rever- 
entially considered  his  greatest  work,  it  was  not  at  this  time  nearly  so  efl^ective  as 
his  minor  poetry ;  and  in  the  latter  it  was  //  Penscroso — the  love  of  meditative 
comfortable  melancholy — that  penetrated  most  deeply  into  the  Romantic  soul." 
(p.  87.) 

Shortly  after  tlie  appearance  of  Professor  Phelps's  book,  Pro- 
fessor Courthope  brought  out  his  History  of  English  Poetry,  in  which  he 
mentions  only  the  prominent  eighteenth  century  writers  of  blank  verse, 
pays  his  compliments  to  Professor  Phelps,  and  follows  him  rather  closely 
in  his  own  chapter  on  "The  Early  Romantic  Movement."^*  In  1898, 
W.  Macneile  Dixon,  in  his  chapter  on  "The  Romantic  Revival,"  gives 
little  more  than  a  passing  notice  to  the  eighteenth  century  interests  in 
blank  verse  poetry,  mentioning  only  Thomson  and  Young.  "From  this 
time  (1742),"  he  says,  "blank  verse  grew  in  favor  with  the  more 
imaginative  writers."  Then  he  develops  the  influence  of  Milton  wholly 
through  the  Minor  Poems,  after  the  manner  of  Phelps  and  Courthope.'^ 

The  next  year.  Professor  Beers  presented  with  force  the  same  gen- 
eral view  in  his  History  of  English  Romanticism  (1899,  1906).  He  says, 
' '  The  only  important  writer  who  had  employed  blank  verse  in  landramatic 
poetry  between  the  publication  of  Paradise  Regained  in  1672,  and 
Thomson's  Winter  in  1726,  was  John  Philips."  (p.  104).  "It  has 
been  mentioned  that  Paradise  Lost  did  much  to  keep  alive  the  tradition 
of  English  blank  verse  through  a  period  remarkable  for  its  bigoted 
devotion  to  rhyme,  and  "especially  to  the  heroic  couplet.  Yet  it  was, 
after  all,  Milton's  early  poetry,  in  which  rhyme  is  used — though  used  so 
differently  from  the  way  in  which  Pope  used  it — that  counted  most  in 
the  history  of  the  Romantic  Movement."  (p.  148). 

In  thorough  consistency  with  this  point  of  view.  Professor  Beers 
tends  to  pass  in  hurried  sttmmary  reviews  those  blank  verse  poems  that 
do  not  especially  fall  in  with  his  theory,  (cf.  p.  124),  and  to  dwell  only 
upon  those  that  seem  imbued  with  the  spirit  of  Milton's  earlier  poetry. 

2*Vol..  v..  Chapter  xii,  and  p.  363. 

39/„  7-/,^.  Rcfublic  of  Letters.     Pp.  166-202. 


20  THE    MILTOX    TRADITION  [112 

He  has  indeed  traced  this  line  of  ililtouic  influence  with  exactness,  as 
it  appears  to  him  in  the  following  statement: 

"The  Influence  of  Milton's  Minor  Poetry  first  became  noticeable  in  the  fifth 
decade  of  the  Century,  and  in  the  work  of  a  new  group  of  lyrical  poets,  Collins, 
Gray,  Mason,  and  the  brothers,  Joseph  and  Thomas  Warton.  To  all  of  these 
Milton  was  master."     (151.) 

Jlore  definitely,  he  says:  "The  poem  of  Milton  which  made  the  deepest 
impression  upon  the  new  school  of  poets  was  //  Pcnseroso.  This  little  master- 
piece, which  sums  up  in  imagery  of  'Attic  choice'  the  pleasures  that  Burton  and 
Fletcher  and  many  otliers  had  found  in  the  indulgence  of  the  atrabilious  humor, 
fell  in  with  a  current  of  tendency.  Pope  had  died  in  1744,  Swift  in  1745,  the  last 
important  survivors  of  the  Queen  Anne  wits ;  and  already  the  reaction  against 
gayety  had  set  in.  in  the  deliberate  and  exaggerated  solemnity  which  took  pos- 
session of  all  departments  of  verse,  and  even  invaded   the  theatre That 

elegiac  mood,  that  love  of  retirement  and  seclusion,  wliich  have  been  remarked  in 
Shenstone,  become  now  the  dominant  note  in  English  poetry.  The  imaginative 
literature  of  the  years  1740-60  was  largely  the  literature  of  low  spirits.  The  gen- 
eration was  persuaded,  with  Fletcher,  that  'Nothing's  so  dainty  sweet  as  lovely 
Melancholy.'  But  the  muse  of  their  inspiration  was  not  the  tragic  Titaness  of 
Diirer's  painting,  'The  Melancholia  that  transcends  all  wit,'  (but)  rather  the 
'mild  Miltonic  maid,'  Pensive  Meditation.  There  were  various  shades  of  somber- 
ness,  from  the  delicate  gray  of  the  Wartons  to  the  funereal  sable  of  Young's 
Night  Thoughts  (1742-44)  and  Blair's  Grave  (1743)."     (pp.  162-3.) 

In  1906,  Charles  Cestre  followed  in  the  foot-prints  of  these  English 
literary  historians.  Discussing  "La  Revolution  et  les  Origines  du  Ro- 
mantisme, "■"'  he  says: 

"II  se  produisit  dans  la  seconde  moitie  du  XVIII'  siecle,  en  Angleterre,  un 
mouvement  de  renovation  litterraire,  du  au  contre-coup,  dans  les  lettres,  des 
forces  latentes  qui  preparaient  le  progres  social.  (Here  he  discusses  the  works  of 
the  Wartons,  Gray,  Collins,  Mason,  Young,  Blair,  and  Bowles.)  lis  ne  se  debar- 
rasserent  pas  de  la  conventions.  A  I'ancienne  ils  en  substituerent  une  nouvelle, 
sans  trouver  le  secret  de  la  poesie  sincere  et  vraie.  lis  rcmplacercnt  le  theme 
moral  par  la  theme  sentimental,  I'appareil   de  I'antiquite  par  I'apparcil  du  moyen- 

age.    la    mode    de    I'abstraction    par    la    mode    de    la    'Melancolie.' lis    ne 

s'affranchirent  pas  de  I'autorite.  Au  lieu  d'imiter  Pope,  ils  imitcrent  Spenser  et 
Milton ;  ils  virent  le  nioyen-age  surtout  a  travers  la  chevalerie  de  The  Faerie 
Quceiie  et  ils  reproduisirent  a  satiete  les  traits  et  les  images  'melancoliques'  de 
]l  Penscroso."  (He  then  speaks  of  Thomson's  and  of  Young's  deficiencies  in  the 
use  of  blank  verse,  and  of  the  corruption  of  vocabulary  which  came  through  these 
revivals  of  the  past.) 

Mr.  Gos.se,  in  his  History  of  Eighteenth  Ccntnrii  TAtcrature  (p.  2), 
holds  that,  throughout  the  i)eriod  1660-1780,  the  "heroic  couplet  was  the 
moral  and  hahitual   fnnti  in  wliicli  poetry,  except  on  the  stage,  moved 

*"La  Revolution  l-raiuaise  i-l  Les  Fortes  Aiiglaise  (iQOC)).  Chapter  V,  Section 
iii,  262-265. 


113]  INTRODUCTORY    SURVEY    OF    THE    FIELD  21 

in  its  serious  moments ; ' '  and  consequently  lie  treats  other  modes  briefly 
as  so  many  exceptions  and  abnormalities. 

Two  Papers,  read  in  honor  of  Milton  in  1908,  show  only  a  slight 
variation  from  the  conventional  view  of  Milton  and  his  influence  upon 
the  Eighteenth  Century.  But  tlie  following  variations  of  tliought  are 
only  general  introductory  statements,  and  are  not  developed  in  the  Papers 
from  which  they  are  taken.  The  first  of  these  is  from  Milton's  Fame  On 
The  Continent,  by  Professor  J.  G.  Robertson.''^    He  suggests  that, 

"To  Paradise  Lost  was  due,  to  an  extent  that  has  not  yet  been  fully  realized, 
the  change  which  came  over  European  ideas  in  the  eighteenth  century  with  regard 
to  the  nature  and  scope  of  epic  poetry;  that  work  was  the  mainstay  of  those 
adventurous  critics  who  dared  to  vindicate  in  the  face  of  French  classicism  the 
rights  of  the  imagination  over  the  reason  as  the  creative  and  motive,  force  in 
poetry." 

The  other  Paper,  Milton  In  The  Eighteenth  Century  (1701-1750), 
by  Edward  Dowden,^-  was  a  little  more  definitely  analytical.  The  writer 
considers  that, 

"The  influence  of  Milton  on  the  literature  of  the  eighteenth  century  was 
threefold — an  influence  on  poetic  style,  independent  in  a  great  degree  of  poetic 
matter  and  therefore  not  wholly  favourable  to  literature,  during  the  first  half  of 
the  century,  felt  in  the  main  by  writers  who  were  not  in  a  high  sense  original ; 
secondly,  an  influence  alike  on  sentiment  and  style,  which  formed  one  of  the 
many  affluents  of  the  Romantic  Movement  of  the  second  half  of  the  century,  or, 
to  be  more  exact,  from  about  1740  onwards ;  thirdly,  an  influence  on  thought, 
appearing  at  irregular  intervals,  but  always  associated  with  political  liberalism  or 
radicalism,  from  Birch  and  Benson  and  James  Thomson  to  Hollis,  Archdeacon 
Blackburne,  and  William  Godwin  in  England,  and  to  Mirabeau  in  France.  The 
first  of  these  modes  of  influence  is  chiefly  connected  with  Paradise  Lost,  the  sec- 
ond with  Milton's  earlier  poems,  the  third  with  his  Prose  Writings." 

Later  in  his  Paper,  Mr.  Dowden  says,  "The  poetry  of  the  second  half  of  the 
century  went  Milton-mad  under  the  influence  of  the  minor  poems,  and  in  particular 
of  L'AUegro  and  //  Penseroso."'^^ 

In  the  same  year  (1908),  Professor  Saintsbury  presented  only  the 
conventional  features  of  the  subject,  in  liis  History  of  English  Prosody, 
with  an  evident  tendency  to  disparage  the  quality  of  eighteenth  century 
blank  verse."  Mr.  Seccombe  followed  (1909)  the  others  in  emphasizing 
the  influence  of  the  Minor  Poems.*^    Schipper  almost  ignores  eighteenth 

*^Procs.  Brit.  Acad.  igoy-oS,  p.  319. 

*=Same,  pp.  275,  280. 

<^Mr.  Dowden's  "Milton-mad"  seems,  however,  to  have  been  coined  just  after 
the  mid-century,  and  was  originally  applied  to  the  writers  of  blank  verse.  Cf. 
Tribute  134,  p.  86  below. 

**Vol.  II,  Book  viii,  Chap.  ii.     "Blank  Verse  After  Milton." 

••^Thos.  Seccombe,  The  Age  of  Johnson  (1748-1798),  p.  283. 


22  THE    MILTOX    TRADITION  [114 

century  blank  verse  in  his  History  of  English  Versification  (1910)." 

The  latest  writer  consulted  falls  into  the  conventional  procession 
with  more  than  ordinary  enthusiasm.  This  is  doubtless  due  in  large 
measure  to  the  nature  of  his  general  subject.  The  reference  is  to  Mr. 
Edward  Bliss  Reed,  who,  in  his  English  Lyrical  Poetry  (1912),  says, 

"More  than  any  other  piece  of  writing.  //  Pcnscroso  inspired  the  poetry  of 
the  mid-century.  We  feel  its  quiet  melancholy  from  Gray's  Elegy  to  the  humblest 
verses  forgotten  in  the  columns  of  the  Gciitloiian's  Maga:iiie.  while  its  personifi- 
cations, "spare  Fast,"  "retired  Leisure,"  the  "cherub  Contemplation,"  are  undoubt- 
edly responsible  for  the  endless  train  of  allegorical  figures  that  stalk  througli  the 
Odes  of  the  period."  (p.  358).  This  statement  he  then  illustrates  very  liberally 
from  the  Odes  of  Collins,  the  Wartons,  and  others. 

Thus  it  would  ai)pear  that  Professor  Plielps  and  Professor  Beers 
may  congratulate  themselves  on  their  juH'stige  in  this  particular  field  of 
early  Romanticism.  Both  of  their  books  have  been  popular,  and  called 
for  in  later  editions.  The  path  that  they  cleared  out  for  themselves  as 
pioneers  has  become  a  well-trodden  literary  highway.  Without  a  large 
measure  of  truth  in  their  early  findings,  this  eminence  could  never  have 
been  possible.  No  one  can  doubt  that,  from  their  own  respective  points  of 
view,  and  within  the  self-imposed  limitation  of  their  own  peculiar 
definitions  of  Romanticism,  as  Revolt  (Phelps),  or  Revival  of  the  Middle 
Ages  (Beers),  each  of  them  has  said  much  that  is  true. 

But  do  these  conventional  views  sjjcak  the  whole  truth?  Do  they 
even  speak  the  real  truth  of  ililton's  iiifiueiiee  upon  the  movements  of 
the  Eighteenth  Century?  To  one  who  has  gone  over  the  facts,  apart 
from  all  definitions  and  theories  of  the  Romantic  or  any  other  move- 
ment, the  above  questions  are  inevitable.  No  one.  thus  acquainted  with 
the  field,  can  doubt  that,  within  the  self-defined  limits  of  these  writers, 
the}'  have  used  mere  facts  conservatively.  The  emphasis  upon  those 
special  features  of  Milton's  influence  might  be  made  much  stronger. 
There  is  little  doul)t  that  each  writer  did  judiciously  select,  from  an  ex- 
tended accumulation  of  materials,  that  wliicli  was  ehoicest  for  his  own 
purpose.  But  one  is  forced  to  feel  that  this  very  principle  of  selection, 
which  is  on  its  other  side  one  of  exclusion,  has  been  ])owerful  in  over- 
estimating the  comparative  influence  of  the  Minor  Poems  over  that  of  the 
Major.  Such  an  influence  u])on  a  writer  is  inevitable,  and  often  even 
unconsciously  powerful,  and  most  apt  to  be  so  wlien  the  ju-inciple  of 
selection  is  directed  by  a  more  or  less  fixed  definition.  To  avoid  it  under 
these  circumstances  wonld  almost  re(|uire  one  to  be  more  than  human. 

Certainly  tliis  eomiiiirative  exaltation  of  tlie  IMiiior  Poems  may  be 
challenged,   when   one  breaks  away   from   (lediiitions,  and   loolis  at   the 

■•"Jakob  Schippcr,  //  Hist,  of  Eng.  Vcrsifxcalion.  O.xford,  1910.  He  seems  to 
recognize  only  Thomson  among  the  eighteenth  century  writers  of  bl.ink  verse. 


115]  INTRODUCTORY    SURVEY    OF    THE    FIELD  23 

influence  of  Milton  in  all  its  comprehensiveness,  and  multiplicity. 
Neither  Milton  nor  the  Romantic  Movement  is  to  be  cramped  within  the 
compass  of  particular  definitions.  The  Movement  itself  was  an  expres- 
sion of  the  eighteenth  century  life,  as  broad,  as  deep,  and  as  powerful,  as 
the  hidden  springs  of  life  itself.  From  the  facts  that  follow,  two  things 
would  seem  to  appear  as  reasonably  conclusive  as  to  the  real  influence 
of  Milton  upon  eighteenth  century  life,  and  consequently  and  immeasura- 
bly upon  the  Romantic  Movement.  The  first  is,  that  the  influence  of 
Milton  was  powerfully  felt  upon  all  the  multiplied  forms  and  phases  of 
eighteenth  century  life.  The  second  is,  that  by  far  the  mightiest  element 
of  this  Miltonic  influence  came,  directly  or  indirectly,  from  the  Major 
Poems,  and  from  Paradise  Lost  in  particular. 

The  genesis  of  this  treatment  was  an  attempt  to  investigate  the  sub- 
ject in  respect  to  the  conventional  view  of  Milton's  influence  upon  the 
Eighteenth  Century.  But  the  wealth  of  materials  involved  has  argued 
convincingly  for  a  historical  sketch  of  some  of  the  various  lines  of  Mil- 
tonic  interests.  This  larger  aim  will  bring  into  the  work  materials  that 
the  original  purpose  would  have  excluded.  But  the  materials  that  are 
relevant  will  speak  their  own  conclusion  respecting  the  original  question. 


CHAPTER  II 
The  Publication  of  Milton's  Works 

The  most  direct  approach  to  the  interest  in  Milton  during  the  period 
under  consideration  is  from  the  standpoint  of  tlie  Printing  Press  and 
the  Book-store.  It  is  the  husiness  of  these  institutions  to  study  the 
trend  and  possibilities  of  public  taste,  and  to  direct  tlioir  business  ven- 
tures according  to  the  demands  of  to-day  or  the  probable  demands  of 
to-morrow.  Success  depends  upon  satisfying,  or  creating  and  satisfy- 
ing, public  demands  by  setting  before  tlu>  reading  public  what  it  desires 
to  read.  This  simple  business  princijile  furnislu'S  a  very  definite  check 
upon  one  side  of  the  Miltonic  interests  of  this  period.  It  shows  how 
great  were  the  general  demands  for  Milton's  works  as  a  whole;  and, 
what  is  more  important  for  tlefinite  study,  it  shows  the  relative  demands 
for  the  several  different  parts  of  Milton's  Poetry  and  Prose  Works. 

This  chajiter  deals  witli  the  facts  concerning  the  publication  of 
Milton's  Works.  In  order  to  clearness  and  brevity,  the  more  important 
pieces  of  poetry  and  prose  are  to  be  presented  separately,  sliowing  what 
was  done  with  each  piece  of  the  Works.  The  several  complete  and  par- 
tial editions  have  been  carefully  aimlyzed,  and  their  j)arts  treated  sepa- 
rately. Yet  the  plan  of  representation  is  such  as  to  keep  the  unity  of 
these  composite  editions  constantly  before  the  eyes  of  the  reader.* 


*This  unity  depends  upon  tlie  first  cohinin  of  figures  marked  ".\,"  which 
refers  to  tlie  same  edition  wherever  these  numbers  are  found  in  succeeding  pages. 
Under  the  editions  of  Paradise  Lost  the  essential  facts  of  most  of  the  numbered 
editions  are  given,  such  as  tlie  date,  publisher,  place,  title  and  form,  and  the  editor 
wherever  there  is  one  mentioned.  These  facts  for  most  of  the  remaining  num- 
bered editions  are  given  under  Paradise  Regained,  where  there  is  added,  with 
numbers,  the  four  editions  of  the  Poems  on  Several  Occasions  separately  printed. 
By  means  of  these  reference  figures  the  reader  may  easily  identify  any  publica- 
tion of  the  smaller  poems  with  the  complete  or  partial  editions  of  the  poetical 
Works  of  Milton.  The  list  under  Paradise  Regained  is  further  iiscil  to  bring  into 
clear  view  the  several  editions  of  The  Complete  Poetical  Works,  Paradise  Re- 
gained and  the  Minor  Poems,  as  well  as  the  four  editions  of  the  Minor  Poems 
separately  printed. 

24 


117] 


THE    PUBLICATION    OF    MII.TOX  S    WORKS 


25 


Section  1     Publication  of  Paradise  Lost 

Title,  &c. 
P.  L.,  10  bks.,  4to. 
Same,  2nd  title-page. 
Same,  4th  " 

Same,  Stli 
? 

P.  L.,  12  bks.,  8vo. 

Same. 

P.  L.,  fol. 

P.  L. 

P.  L.,  fol. 

Ptl.  Wks.,  fol. 

Ptl.  Remains    (Gildon),  8to. 

Ptl.  Wks.,  2v.,  8vo. 

Ptl.  Wks,,  2v.,  8vo. 

With  Philips's  Cyder. 

Ptl.  Wks.,  2v,  i2mo. 

P.  L.,  pp.  315.  i2mo. 

Ptl.  Wks.,  2v.,  4to. 

Ptl.  Wks.,  2V.,  l2rao. 

P.  L. 

Ptl.   Wks.,   2v.    (Fenton),  8vo.i 

Ptl.  Wks.,  2v.  "  8vo. 

P.  L.,  &c.,  8vo. 

Ptl.  Wks.,  2v.,  8vo. 

Ptl.  Wks.,  8vo. 

P.  L.    (Bentley),  4to. 

P.  L.,  8vo. 

P.  L.,  8vo. 

P.  L.,  i2mo. 

Ptl.  Wks.,  2v.,  8vo. 

Ptl.  Wks.,  2v.,  8vo. 

P.  L.,  Prose   (G.  S.  Green),  8vo. 

Ptl.  Wks.,  3v.,  i2mo. 

Ptl.  Wks.,  2v.   (Hawkey)   8vo. 

P.  L.  revised   (Hawkey),  8vo. 

P.  L.,  2v.   (Newton),  4to. 

P.  L..  2v.   (Newton),  8vo. 

P.  L.    (■=ed.   i6;2.  pp.  317),  8vo. 

P.  L.,  Bk.  I,  pp.  16;. 

Ptl.  Wks.,  2v.,   l2mo. 

P.  L.,  2v.   (Marchant),  l2mo. 

11725.    Elegancies   Taken   Out  of  Milton's  Paradise  Lost,  in   The  Shepherd- 
ess's Golden  Manuel.    8vo.,  selected  by  "Theagines." 


A      Date 

Publisher 

Place 

2      I 

667 

P.  Parker 

London 

3      I 

668 

" 

" 

4 

668 

S.  Simmons 

" 

5      I 

669 

" 

(( 

6      1 

672? 

? 

? 

10      1 

674 

S.  Simmons 

London 

II       ] 

678 

" 

** 

14      1 

688 

J.  Tonson 

*' 

IS      1 

691 

? 

? 

16 

692 

? 

tt 

17      1 

695 

J.  Tonson 

n 

19      ] 

698 

" 

11 

20 

705 

" 

*' 

21 

707 

" 

tt 

22 

1709 

H.  Hills 

ii 

23 

1711-3 

J.  Tonson 

" 

24 

719 

u 

tt 

25 

1720 

" 

" 

26 

[721 

" 

fi 

27 

724 

? 

Dublin 

28 

725 

J.  Tonson 

London 

29 

1727 

" 

" 

30 

1727 

? 

? 

31 

1730 

J.  Tonson 

London 

32 

731 

" 

" 

33 

[732 

(( 

34 

1737 

" 

" 

35 

1738 

(( 

*' 

36 

1739 

Stationers 

" 

37 

1741 

J.  &R.  Tonson 

*' 

39 

1743 

** 

it 

40 

1 745 

T.  Osborne 

tt 

41 

1746-7 

J.  &R.  Tonson 

London 

42 

1747-2 

S.  Powell 

Dublin 

44 

1747 

" 

*' 

45 

1749 

Tonson-Draper 

London 

46 

1750 

" 

" 

47 

17.SO 

R.&.\.Foulis 

Glasgow 

48 

1750 

" 

*' 

49 

I7SI 

J.  &  R.  Tonson 

London 

50 

1751 

R.  Walker 

it 

26 


THE    MILTON    'I;RADITI0N 


[118 


51     1 

752 

52 

752 

S.  Powell 

Dublin 

55 

753 

Tonson-Draper 

London 

57 

754 

" 

'* 

58 

754 

Ganeau 

Paris 

59 

755 

T.  Osborne  (?) 

" 

62 

757 

J.  &  R.  Tonson 

London 

63 

758 

J.  Baskerville 

Birmingham 

64      1 

758 

" 

'( 

65 

759 

•4 

" 

66      1 

760 

Hitch  &  Hawes 

London 

6-      1 

761 

? 

? 

68 

761 

? 

Glasgow 

69 

761 

T.  Thompson 

London 

70      1 

762 

A.  Donaldson 

Edinburgh 

71 

763 

J.  &  R.  Tonson 

London 

72 

763 

J.  Wood 

Edinburgh 

73 

765 

" 

74 

765 

W.  &  W.  Smith 

Dublin 

73 

766 

J.  Tonson 

London 

76      1 

767 

A.  Donaldson 

Edinburgh 

77 

1767 

T.Osborne  (?) 

London 

78  ( 

1770) 

•> 

" 

79 

770 

T.Osborne  (?) 

" 

80 

770 

J.  Beecroft 

" 

81    1 

770 

■' 

" 

82 

770 

K.&  A.Foulis 

Glasgow 

83 

771 

■• 

" 

86 

773 

J.  Beecroft 

London 

87 

773 

J.  Exchaw 

Dublin 

88      1 

773 

Edinburgh 

89 

773 

A.  Kincaid 

" 

91 

775 

p 

■> 

92 

775 

R.  Bladon 

London 

93 

775 

? 

? 

94 

775 

? 

Phila..  Pa. 

95 

776 

J.  Bell 

Edin.-Lond. 

96 

777 

J.    Cool  I' 

London 

98 

778 

W.  Slraban 

99 

778 

" 

'* 

100 

779 

S.  Johnson 

" 

102 

782 

J.  Bell 

*' 

103 

785 

.1.  Wilson 

Kilmarnock 

106 

78S 

j.  P.  &  C.  Riving 

- 

ton 

London 

107 

ym 

** 

" 

108 

1790 

S.  Johnson 

" 

P.  L.  2v.,  "  i2mo. 

Ptl.  Wks.,  2v.    (Hawkey),  8vo. 

Ptl.  Wks.,   2v.,   lamo. 

P.   L.,  2v.   (Xewton),  4to. 

P.  L.,  2v.,  i6mo. 

P.  L.,  Prose  (Green),  8vo. 

P.  L.,  2v.   (Newton),  8vo. 

Ptl.  Wks.,  2v.   (Xewton-Text),  8vo. 

Ptl.  Wks.,  2v.  (N.-Text),  4to. 

Ptl.  Wks.,  2v.  (X.-Text),  4to. 

Ptl.  Wks.,  2v.,   l2mo. 

Ptl.  Wks.,   3v.    (Xewton),  4to. 

P.  L. 

P.  L.,  pp.  324,  8vo. 

Ptl.  Wks.,  2v.,  8vo. 

Ptl.  Wks.,  4v.   (Newton),  8vo. 

P.  L.,  Xew  ed.,  pp.  xiii.  304,   i2mo. 

P.  L..  2v.,   i2nio. 

P.  L.,  "17th  ed.,"  i2mo. 

Ptl.  Wks.,  4v.   (Xewton),  8vo. 

Ptl.  Wks.,  2v..  8vo. 

P.  L.,  Prose   (Green),  8vo. 

P.  L..  Prose,  8vo. 

P.  L..  Prose  (Green),  8vo. 

Ptl.  Wks.,  4v.   (Xewton),  8vo. 

P.  L.,  pp.  Ixx,  319,  i2mo. 

P.  L.,  pp.  466,  fol. 

P.  L.,  2v.,  i2mo. 

Ptl.  Wks.,  4v.   (Newton),  8vo. 

Ptl.  Wks.,  4v.   (Newton),  8vo. 

Brit.  Poets,  vol.  t-4. 

P.  L.  (altered),  pp.  444,  8to. 

Ptl.  Wks.,  4v.   (Newton),  4to. 

P.  L.  &  P.  R.,  2v.,  i2mo. 

P.  L.  (Newton),  i2mo. 

P.  L.  (first  Anier.  ed.) 

Pts.  of  Gr.   Brit.,  vol,  35-38,   i2mo. 

P.  L.   (Newton),  pp.  332,  i2nio. 

P.   L.,  pp.  Ixxi,  319,   i2mo. 

P.  L.,  2v.,  8vo. 

Eng.  Poets,  vols.  3-5,  Svo, 

Pts.  of  Gr.  Brit.,  v.  35-.^8,   i2nio. 

P.  L.,  pp.  xvi.  304,  i2mo. 

P.  L.,  lllus.  (Gillies),  i2mo. 
P.  L.,  2v.  (Newton),  Svo. 
Eng.  Poets,  v.  10-12.  8vo. 


1191 


THE    PUBLICATION    OF    MILTON  S    WORKS 


27 


109 

1790 

For  Booksellers 

" 

no 

1709 

J.  F,  &  C.  Riving 
ton 

112 

1791 

John  Wesley,  ed, 

" 

"3 

1793 

R.  Anderson 

Edinburgh 

114 

1792 

J.  Raeknian 

Bury  St.  Ed, 

115 

1793 

" 

116 

1793 

B.  White  &  Son 

London 

117 

1793 

Jos.  Ritson,  ed. 

119 

>  794-7 

Boydell-Xichol 

" 

120 

1794 

T.&  H.  Richter 

" 

121 

1794 

ijj 

I 795-6 

T.  Longman 

London 

1^3 

1795-6 

C.  Cooke 

124 

1795 

J.  Raekman 

" 

125 

1795 

C.  M..  editor 

" 

12; 

1796 

J.  Parsons 

t( 

128 

1799 

T.  Heptinstall 

" 

130 

1801 

J.  Johnson 

'* 

I'tl.  Wks.,  2v.,   i2nio. 

r.   L.,  2v.    (Xewton),   l2mo. 

Extracts   P.  L.,  pp.  335,   l2nio. 

Brit.  Poets,  v.  5,  8vo. 

P.  L.,  Bk.  I   (Loflft),  4to. 

Same,   Bks.  ML 

P.  L.,  lllus.   (Gillies),   i2mo. 

P.  L.,  Bk.  I   (Eng.  Anthology),  8vo. 

Ptl.    Wks.    (Cowper-Hayley),    fol. 

P.  L.,  pp.  493,  L.  P.,  4to. 

P.  L.  (Eng.  &Ital.),8vo. 

Ptl.  Wks.,  2v.,  8vo. 

Ptl.  Wks.,  2v.   (Newton),   i2mo. 

P.  L.,  Bks.  I-IV.   (Lofft).  4to. 

P.  L.,  3v.,   i2mo. 

P.  L.,  2v.  (Newton),  8vo. 

P.  L.,  pp.  xlix,  371,  8vo. 

Ptl.  Wks.,  6v.   (H.  J.  Todd),  8vo. 


Paradise  Lost  was  first  published  as  "A  Poem,  in  Ten  Books,"  in 
1667,  with  Milton's  name  in  the  title-page.  The  printing  and  sale  of 
the  jioem  were  in  the  hands  of  Peter  Parker.  Numbers  2-6  above 
represent  only  parts  of  the  original  edition,  which  was  placed  on  the 
market  by  installments.  When  the  first  part  was  sold,  a  new  installment 
would  be  bound,  with  a  new  title-page  bearing  the  date  of  the  binding, 
and  offered  for  sale.  In  this  way,  the  first  edition  of  the  poem  came  to 
be  represented  by  nine  different  title-pages.  To  one  of  those  issues  of 
the  poem,  in  1668,  Milton  added  the  Preface  on  the  Verse,  and  the 
Argument.  About  the  same  time  the  publication  of  the  poem  passed 
into  the  hands  of  S.  Simmons,  who  owned  the  copyright.  He  issued 
number  4  to  be  sold  by  S.  Thompson,  and  number  5  to  be  sold  by 
T.  Helder. 

Wlien  the  first  edition  was  exhausted,  a  "second  edition  revised: 
and  augmented"  by  Milton  himself,  appeared  in  the  year  of  his  death 
(1674).  The  third  edition  was  published  in  1678;  the  fourth,  in  1688. 
Beyond  this  date,  it  is  difficult  to  speak  with  much  certainty  about  the 
numhcrs  of  editions.  Numbers  do  not  seem  to  represent  a  single  series 
of  editions.  One  may  find  a  "6th"  edition  of  Paradise  Regained,  in 
1695,  and  "the  4th"' edition  in  1705.  There  was  a  "7th  edition"  of 
the  Minor  Poems  in  1727,  and  a  "7th  edition,  corrected,"  in  1730.  The 
confusion  of  the  early  editions  of  Paradise  Lost  was  so  great  that  even 
Richardson  felt  unable  to  clear  up  the  matter,  in  his  Life  of  Milton,  as 
early  as  1734.-     At  a  distance  of  two  centuries,  one  can  only  hope  for 

'Life  of  Milton,  1734,  p.  cxvii. 


28  THE    MILTON   TR.VDITION  [120 

au  approximate  correctness,  eveu  in  the  most  careful  study  of  those 
early  "editions." 

After  1670,  Faithborne's  portrait  of  Milton  was  ready  to  occupj- 
a  conspicuous  place  in  the  book."  The  edition  of  1688  was  almost  an 
event  of  national  history,  in  that  it  was  connected  with  the  Whig  inter- 
ests of  that  year.  This  magnificent  edition  was  published  by  M.  Flesher, 
for  Jacob  Tonson,  in  large  folio,  under  subscription,  and  financed  by 
Lord  Dor.set.  This  was  the  first  ornamented  edition  of  the  poem,  and 
Mr.  Perry  says  that  this  edition  was  one  of  the  first  books  ever  published 
by  subserii)tion.*  It  was  a  splendid  piece  of  work,  and  became  a  house- 
hold treasure.^  The  subscription  list  contained  500  of  the  best  names 
in  England  at  that  time,  and  speaks  convincingly  of  the  early  recog- 
nition of  Paradise  Lost. 

The  number  of  copies  in  the  early  editions  is  largely  a  matter  for 
conjecture.  The  contract  between  Milton  and  the  publisher  specified 
that  none  of  the  first  three  editions  were  to  go  beyond  fifteen  hundred 
copies.  It  seems  that  about  thirteen  hundred  copies  were  sold  during 
the  first  eighteen  months  after  tlie  publication  of  the  poem  in  1667. 
Dr.  Johnson  thouglit  that  3,000  copies  were  sold  during  the  first  eleven 
years."  Mr.  Havens  estimated  that  there  were  probably  4,000  copies  of 
Paradise  Lost  in  circulation  in  the  year  1680.  The  purely  literary 
interest  in  the  poem  must,  therefore,  have  been  considerable  befoi'e  the 
popularizing  movement  of  1688. 

The  distinctly  commercial  aspects  of  the  poem  are  not  without 
historical  interest.  According  to  Masson,"  Samuel  Simmons,  upon  pay- 
ing Milton  five  pounds  down,  and  five  jiounds  for  each  of  three  suc- 
ceeding editions,  was  to  obtain  full  possession  of  the  copyright  of 
Paradise  Lost.  Milton  received  ten  pounds,  and,  after  his  deatli,  Sim- 
mons, by  composition  with  Milton's  widow,  closed  the  contract  by  paying 
her  eight  jiounds  more.  In  1680  or  1681,  Simmons  sold  his  copyright 
to  Brabazon  Aylmer  for  twenty-five  pounds.  He,  in  turn,  sold  one- 
half  interest  in  the  copyright  to  Jacob  Tonson,  at  more  than  one  huu- 
di'cd  per  cent  advance  upon  the  price  paid  to  Simmons.'  On  March  24, 
1691,  Ton,son  bought  of  Aylmer  the  other  half  of  tlie  cop>Tight  "at  au 
advanced  ]iriec."  About  this  time,  Tonson  also  came  into  control,  if 
not  into  full  po.ssession,  of  the  other  i)oems  of  I\lilton.  In  a  conunercial 
sense,  at  least,  Milton  had,  by  these  transactions,  fallen  upon  prosperous 

■■■Br.  Mil.  Cat.  "Milton,"  P.  L.,  ed.  i668. 

*T.  S.  Perry,  ILiig,  Lit.  in  llic  iS  Century,  p.  252. 

"C/.  Tributes  19  and  20,  p.  58  below, 

"Johnson,  Life  of  Milton.  (G.  I?.  Mill).  T,  i-i>-i44- 

''History  of  Milton.  6780-78;. 

"Tonson  bought  the  first  half  on  August  ly,  1683. 


121]  THE    PUBLICATION    OK    MILTON 'S    WORKS  29 

times.  Jacob  Tonsou,  notwitlistandiug  liis  "leering  looks,  bull-faced, 
and  freckled  fair"  appearance,  was  a  thoroughgoing  business  man.  He 
kept  the  copj'right  in  his  own  possession,  pushed  the  publication  and 
sale  of  the  poetry,  especially  of  Paradise  Lost,  and  made  a  fortune  out 
of  liis  interest  in  the  great  English  Poet." 

Tonsou  made  the  poem  attractive  in  form  and  appearance.  He 
produced  it  in  all  sizes,  from  the  handy  pocket  edition  quarto,  to  the 
large  ornamented  edition  folio.  He  used  the  best  materials  available, 
and  probably  engaged  the  best  talent  for  the  work  of  engraving  and 
binding  that  the  times  could  afford.  He  was  constantly  on  the  alert 
for  new  and  helpful  additions  to  the  work  in  the  way  of  notes  and 
illustrations.  He  planned  with  Patrick  Hume  the  first  annotated  edi- 
tion of  the  poem  (1695).  The  Tonsons,  by  constantly  encouraging 
critical  activities  upon  the  poem,  did  much  to  prepare  the  way  for  the 

'Three  Jacob  Tonsons  continued  the  printing  business  for  almost  a  century. 
The  succession  was:  Jacob  Tonson  (1656-1737);  his  nephew,  Jacob  Tonson 
(d.  1736)  ;  his  son,  Jacob  Tonson  (d.  1767)  succeeded  by  Andrew  Millar;  succeeded 
by  Thomas  Cadell.  For  forty  years  the  Tonsons  had  a  monopoly  on  Milton's 
poetry,  and  grew  rich  from  the  traffic  therein.  (Masson,  6:788;  and  Johnson's  Life 
of  Milton  (Hill),  1, 160,  note  4).  The  Elder  Tonson  had  a  large  painting  of  himself, 
made  by  Sir  Godfrey  Kneller  (1646-1723),  sitting  with  a  folio  of  Paradise  Lost 
resting  against  his  left  arm ;  a  full  page  reproduction  of  which  may  be  seen  in 
Mr.  Pope,  His  Life  and  Times,  by  Geo.  Paston  (Emily  Morse  Symonds),  London, 
1909,  p.  22.  This  first  Tonson  was  "close"  in  business  matters ;  but  the  third  was 
very  generous  and  more  liberal,  "a  man  who  is  to  be  praised  as  often  as  he  is 
named."  (Johnson,  ref.  above).  He  paid  Newton  £630  for  Paradise  Lost  (1749), 
and  £105  for  Paradise  Regained  (1752).  (Gent.  Mag.,  May,  1787,  p.  76).  From 
these  proceeds,  Newton  "brought  a  large  contribution"  for  Mrs.  Foster,  Milton's 
grand-daughter,  and  Tonson  gave  £20   (Johnson,  above). 

The  very  document  of  the  original  Contract  between  Milton  and  Simmons 
became  an  article  of  commercial  value.  This  Contract  was  still  in  the  hands  of  the 
third  Tonson  in  1750  (Newton's  Life).  After  Tonson's  death  (1767),  their  printing 
business  ceased,  and  their  papers  were  scattered.  The  Contract  was  lost  from  sight 
until  1824.  At  that  time  it  was  sold,  by  a  tailor,  with  other  Tonson  papers,  to 
Septimus  Prowett,  a  London  book-seller,  for  £25.  These  papers  Prowett  sold  at 
auction,  Feb.  28,  1826,  when  the  Contract  alone  was  bought  by  Pickering,  for  £45,  3s. 
He  sold  it  for  £60  to  Sir  Thomas  Lawrence,  at  whose  death  (1830)  it  fell  again 
into  the  hands  of  Pickering,  who  sold  it  again  to  the  poet  Rogers.  Rogers  had 
acquired  possession  of  Dryden's  contract  for  the  Fables,  and  Goldsmith's  contract 
with  James  Dodsley  (March  31st,  1763)  for  The  Chronological  History  of  the 
Lives  of  Eminent  Persons  of  Great  Britain  and  Ireland.  All  three  of  these 
Contracts  Mr.  Rogers  presented,  as  a  gift  to  the  Nation,  to  the  British  Museum, 
where  they  are  kept  together  (Masson,  Life  of  Milton,  vi,  p.  51  in.  John  Foster, 
The  Life  and  Times  of  Oliver  Goldsmith,  2  vols.,  1871,  p.  274,  339n). 


30  THE    MILTOX    TRADITION'  [122 

first  variorum  edition  of  Paradise  Lost,  edited  by  Tlioraas  Newton,  and 
published  by  Touson  and  Draper  iu  1749. 

Paradise  Lost  was  first  published  in  Dublin  iu  1724,  which  was  a 
quarter  of  a  century  before  any  other  poem  of  Milton,  except  the 
adai)tations  of  Comus  and  Samson,  was  printed  in  Ireland.  There 
were  three  editions  of  Pafadise  Lost  in  Scotland  (A47,  48,  68), 
before  the  Minor  Poems  were  published  in  that  country  (1762).  The 
first  of  these  editions  (A47)  harks  back  to  an  edition  of  1672,  no  other 
mention  of  which  has  been  found.  The  second  (A48)  contained  an 
elaborate  commentary  on  Book  1  of  the  Epic. 

The  mid-century  period  (Chapter  vi  below)  was  a  time  of  great 
activity  among  editors  and  commentators,  and  almost  every  edition  of 
Paradise  Lost  was  supplied  with  some  kind  of  notes  or  criticism.  The 
plan  persisted  to  some  extent  throughout  the  century.  The  accumulat- 
ing materials  of  this  kind  were  used  by  Newton  for  the  first  variorum 
edition  (1749),  and  by  Todd  for  the  second  variorum  edition  (1801). 

In  1765,  W.  &  W.  Smith  published  in  Dublin  a  "seventeenth  edi- 
tion'" of  Paradise  Lost  with  a  Glossary  and  otlier  helps  (A74).  Just 
what  was  meant  by  this  "seventeenth  edition"  seems  impossible  to  deter- 
mine; for  the  number  seems  not  to  harmonize  with  any  of  the  earlier 
numbering  of  editions.  Tlu^  Scotch  editions  indicate  an  especial  interest 
in  the  poem.  Poulis,  of  Glasgow,  made  an  effort  to  furnish  to  his 
eountrynuMi  an  e.xtra  finely  jjrinted  folio  edition  of  Paradise  Lost,  in 
1770  (A82).  A  presentation  copy  of  this  edition,  now  in  the  British 
Museum,  was  sent  by  the  binder,  J.  Scott,  to  King  George  the  Third. 
Toward  tlie  end  of  tlie  century,  tliere  was  a  tendency  in  the  direction 
of  elaborate  engraving  for  the  ornamentation  of  the  poem.  This  ten- 
dency produced  many  beautiful  title-pages  (Cf.  A125  and  126).  and 
excellent  illustrations.  Tlie  tendency  itself  was  a  part  of  that  general 
interest  which  resulted  in  the  Milton  Gallery,  by  Puseli.'" 

">The  possibility  of  subjects  for  tlic  painter  from  Paradise  Lost  was  early 
realized.  Regiiining  with  Tonson's  folio  edition  of  i688,  the  Epic  was  usually 
"ornamented  witli  sculptures."  Steele  showed  some  special  interest  in  this  aspect 
of  the  poem  in  his  Tatlcr  papers  (Chapter  v  below).  J.  Richardson,  who  was  him- 
self a  painter,  has,  in  bis  Explanatory  Notes  (1734),  a  reference  from  the  "Table 
of  Principal  Siil)jects"  to  "Pictures,"  pp.  544-545.  These  arc  word-pictures,  44  in 
number,  hut  were  suggestive  for  the  brush.  The  World  (No.  ui,  April  J4,  1755), 
in  An  Imaginary  Visit  to  Parnassus,  represented  a  marble  temple,  adorned  with  line 
scenes   painted    from    Homer,   Virgil,   and    Paradise   Lost. 

But  it  was  left  for  John  Henry  Fuscli  (1741-1825)  to  work  out  these  suggestions 
into  the  "Milton  Gallery."  "His  art-loving  family  was  on  intimate  terms  with  the 
literary  circle  at  Zurich,  which  claims  to  have  started  the  Romantic  Movement 
in  general  literature,  represented  by  J.  J.  Bodmer,  J.  J.  Breitingcr.  and  the  painter- 
poet,  Solomon  Gessner,  who  stood  sponsor  to  the  infant  Heinrich."     Iniscli  studied 


123]  the  publication  of  milton 's  works  31 

Section  2    Publication  op  Paradise  Regained 

Turning  from  the  greater  Epic  to  the  less,  one  faces  a  proportionate 
decrease  in  editions  that  holds  good  for  almost  every  phase  of  interest 
in  the  two  Epics.  While  in  the  case  of  Paradise  Lost,  the  tendency  was 
to  multiply  the  number  of  spearate  editions,  and  to  spare  no  means  of 
exalting  the  merits  of  that  great  poem,  in  the  case  of  Paradise  Regained 
the  tendency  was  to  publish  the  lesser  Epic  as  a  part  of  The  Poetical 
Works  of  Milton.  But  even  in  this  connection,  the  smaller  Epic  was 
exalted  as  the  second  most  considerable  part  of  Milton's  poetry.  It  was 
declared  to  be  inferior  only  in  comparison  with  the  Paradise  Lost." 

at  the  Collegium  Carolinum  at  Zurich,  of  which  Bodmer  and  Breitinger  were 
professors.  He  knew  English,  French.  Italian,  Greek,  and  Latin.  He  was  an  ardent 
student  of  Shakespeare,  Richardson,  Milton,  Dante,  Rousseau,  and  the  Bible,  all  of 
which  furnished  materials  for  his  pencil. 

Fuseli  went  to  England  in  the  end  of  1763,  and  was  in  Rome  in  1770-8,  where 
he  sketched  some  of  the  ideas  of  Milton,  Dante,  and  Shakespeare,  which  were 
afterwards  worked  into  his  more  famous  pictures.  Later  he  revisited  Zurich,  and 
then  returned  to  England.  He  was  a  friend  to  Dr.  Armstrong  (Art  of  Healtli, 
ii,  236).  In  1780.  he  painted  the  Ithurial  scene  from  Milton  (Cf.  Steele,  Tatlcr, 
237,  Oct.  14,  1710). 

The  "Milton  Gallery"  was  the  outcome  of  the  elaborate  edition  of  Milton, 
proposed  by  Johnson  in  1790,  to  rival  that  of  Boydell's  Shakespeare.  Cowper  was 
to  have  edited  the  work.  Fuseli  was  to  have  painted  the  pictures.  Sharp,  B'arto- 
lozzi,  Blake,  and  others,  were  to  have  made  tlie  engravings.  But  the  project 
failed.  Fuseli,  however,  transformed  his  enthusiasm  into  the  "Milton  Gallery," 
which  was  opened  May  26,  1799,  with  forty  pictures.  It  was  closed  after  two 
months;  but  was  opened  next  year,  with  seven  new  pictures,  at  the  vacated  rooms  of 
the  Royal  Academy,  in  Pall  Mall. 

Most  of  the  scenes  were  taken  from  Paradise  Lost.  The  Lazar  House,  and 
the  Deluge  seem  to  have  been  very  attractive  to  this  imaginative  artist.  But  the 
Gallery  was,  in  general,  felt  to  be  unsatisfactory,  because  of  its  "wild  extrava- 
gance"  (Lionel  Gust,  D.  N.  B.  "Fuseli"). 

Miss  Seward  applauded  this  undertaking  of  Fuseli,  in  her  Anecdotes  of  Some 
Distinguished  Persons,  chiefly  of  the  present,  and  preceding  centuries,  iwl.  iv, 
1796.  See  Mo.  Rev.,  April,  1797,  103(22)  :38s-392.  Thomas  Green  visited  the 
Gallery  on  June  3,  1799,  and  criticized  Fuseli  as  "rather  bombastic  than  sublime" 
(Extracts  from  Diary).  John  Flaxman  (1755-1826),  the  painter,  drew  his  subjects 
from  Dante,  rather  than  from  Milton,  for  three  reasons,  (i)  He  was  unwilling 
to  interfere  with  Fuseli.  (2)  Because  Dante  supplied  more  figures.  (3)  He  had 
heard  that  Michael  Angelo  had  made  a  number  of  designs  in  the  margin  of  a  copy 
of  Dante.  Yet  Fla.xman  regarded  "Milton  the  very  greatest  of  poets."  (H.  C. 
Robinson,  Diary,  Jan.  17,  181 1,  I,  319). 

"Giles  Jacob  (1686-1744).  An  Account  of  the  Lives  of  Our  Most  Considerable 
English  Poets.     1720.     II,  106. 


32 


THE    MILTON    TRADITION 


[1-J4 


The  general  attitude  toward  the  Paradise  Regained  will  appear  in  the 
list  of  editions,  and  the  eommeuts  that  follow. 


A      Date 

jnth  irimt 

Separate  Editions 

I 

(1645.   Poems  on  Several  Occasions). 

/ 

1671 

S.A. 

J.  Starkey,  London.    P.  R.,  4  Bks.  8  vo. 

8 

672 

S.A. 

"                  "        Same. 

9 

673 

(1673.   Poems  on  Several  Occasions). 

12 

680 

S.A. 

J.  Starkey,  London.  P.  R.  &c.,  pp.  132. 

13 

1688 

S.A. 

R.  Taylor,         •'        P.  R.,  S.  A.,  2  parts. 

i- 

■  695 

Ptl.  Wks. 

iS 

695 

Minor  Poems 

Tonson?,  London,     fol.  "6111  ed." 

19 

1698 

Ptl.  Wks. 

20 

1705 

Ptl.  Wks. 

21 

707 

Ptl.  Wks. 

23 

7 1 1-3 

Ptl.  Wks. 

25 

1720 

Ptl.  Wks. 

26 

1721 

Ptl.  Wks. 

28 

725 

Ptl.  Wks. 

29 

727 

Ptl.  Wks. 

31 

1730 

Ptl.  Wks. 

32 

1731 

Ptl.  Wks. 

37 

741 

Ptl.  Wks. 

38 

t742 

Minor    Poems. 

Tonson,   London.     Svo. 

39 

743 

Ptl.  Wks. 

41 

746-7 

Ptl.  Wks. 

42 

747-2 

Ptl.  Wks. 

43 

747 

Minor  Poems 

R.   Foiilis.  Glasgow.     12  mo. 

49 

751 

Ptl.  Wks. 

52 

752 

Ptl.  Wks. 

53 

752 

Minor  Poems. 

Tonson   {\ewton").     London.    4  to.,  pp.  6 

54 

752 

Minor  Poems. 

R.  &  .\.  Foulis,  Glasgow.     i2nio.,  pp.  380. 

55 

753 

Ptl.  Wks. 

56 

753 

Minor  Poems. 

Tonson-Draper  (Newton).     L.    Svo. 

6o 

755 

Minor  Poems. 

J.  Wood,  Glasgow.     8vo.,  pp.  315. 

6i 

756 

Minor  Poems. 

J.  &  R.  Tonson.    London.     i2mo.,  pp.  351. 

63 

758 

Ptl.  Wks. 

64 

758 

Ptl.  Wks. 

65      1 

759 

Ptl.  Wks. 

66 

760 

Ptl.  Wks. 

67 

761 

Ptl.  Wks. 

70      1 

762 

Ptl.  Wks. 

;i 

763 

Ptl.  Wks. 

75      1 

766 

Ptl.  Wks. 

-6 

767 

Ptl.  Wks. 

8o      ] 

770 

Ptl.  Wks. 

84      1 

771 

The  Recovery 

of  Man:  or  Paradise  Reijained.  in   Prose. 
1 77 1.     i2mo. 

London, 


125]  THE    PUBLICATION    OF    MILTON 's    WORKS  33 

Minor  Poems.     R.  &  A.  Foulis  (Newton).     Glasgow.    2  vols.,  i2nio. 

Ptl.  Wks. 

Ptl.  Wks. 

Ptl.  Wks. 

Minor  Poems.      Newton   edition,     ^to. 

Ptl.  Wks. 

P.  Lost. 

Ptl.  Wks. 

Minor  Poems.     W.  Strahan   (Newton),  "new  ed."  4to.,  690. 

Ptl.  Wks. 

Paradise   Regained,   in   Four   Books,      unto.,   pp.    108.     Tophis   and 

Burney,  London. 
Ptl.  Wks. 

Minor  Poems.     W.  Strahan  (N.),  London.    2  vols,  8vo. 
(1785.    Poems  OH  Sev.  Occasions,    ed.  T.  Warton). 
Ptl.  Wks. 
Ptl.  Wks. 

(1791.    Poems  on  Sev.  Occasions.    2nd  ed.    Warton). 
Ptl.  Wks. 
Paradise   Regained,   in   Four   Books.      i2mo.,   pp.    94.     J.    Catnach. 

Alnwick. 
Ptl.  Wks. 
Ptl.  Wks. 
Ptl.  Wks. 
Paradise  Regained,  with  Notes,  &c.    By  Chas.  Dunster.    4to.,  pp.  iv, 

280.     Cadell  &  Davies,  London. 
Paradise  Regained.    4to.,  pp.  vi,  280.    R.  H.  Evans,  London.     Notes, 

&c.,  by  C.  Dunster. 
Ptl.  Wks. 

Paradise  Regained,  a  Poem  in  Four  Books,  with  Milton's  name  on 
the  title-page,  was  published,  with  Samson  Agonistes,  in  1671.  It  seems 
that  this  edition  was  re-issued  in  1672.  The  two  poems  were  published 
together  in  a  new  edition  in  1680,  and  again  in  1688.  The  smaller  Epic 
next  appeared  as  a  part  of  Milton's  Poetical  Works  in  1695.  From  that 
time,  Paradise  Regained  became  the  chief  element  in  a  second  part  of 
the  complete  poetical  works.  The  division  into  two  parts  was  due,  in 
large  measure,  to  the  extra  attention  given  to  Paradise  Lost.  That 
poem,  with  its  accumulation  of  critical  materials,  which  began  early  to 
assume  importance,  was  set  off,  as  a  first  part  of  the  works,  against  a 
second  part  whose  title  usually  read : 

Paradise  Regained  .  ...  To  Which  is  added 
Samson  Agonistes,  the  Poems  on  Several 
Occasions,  and  the   Tractate  of  Education. 

Under  this  arrangement  of  Milton's  poetry,  the  editions  of  Para- 


8s 

1772 

86 

1773 

87 

1773 

88 

1773 

90 

1774 

91 

1775 

92 

1775 

95 

1776 

97 

1777 

100 

1779 

10 1 

1779 

102 

17S2 

104 

1785 

los 

108 

1790 

109 

1790 

III 

113 

1793 

118 

1793 

119 

1794-7 

122 

1795-6 

123 

1795-6 

126 

1795 

129 

(1800) 

130 

1801 

34 


THE    MILTON    TR^UJITION 


[126 


disc  Lost  might  easilj-  be  multiplied,  and  the  Minor  Poems  were  almost 
uniformly  subordinated  to  the  lesser  Epic.  The  two  preceding  lists  of 
editions  may  be  summarized  as  in  the  following  table : 

Manner  of  printing              Paradise  Paradise            Minor 

Lost  Regained             Poems 

In   Poetical   Works 42  42                      42 

In  separate  editions 53  44 

P.  R.  +  Minor  Poems 12                       12 

P.  L.  +  P.  R I  I 

With  Samson  Agonistcs 4 

In  Prose  editions  5  I 

Total  editions   loi  64  58 

Section  3    Publication  op  Samson  Agonistes 

Of  Samson  Agonistes,  little  needs  to  be  said,  more  than  appears 
in  the  list  of  editions.  The  poem  first  appeared,  witli  Paradise  Bcgaincd, 
in  1671,  and  subsequently  in  tlie  same  combination,  in  1672?,  1680,  and 
1688.  It  became  a  part  of  The  Poetical  Works  in  1695,  and  seems  never 
to  have  been  printed  in  separate  edition,  except  in  the  adapted  forms, 
as  indicated  in  tlu>  following  list  of  editions: 

A7  1671  I-  1695  21  1707  28  1725             27    1741 

8  1672  18  1695  23  1713  29  1727             38    1742 

X2  1680  19  1698  25  1720  31  1730 

13  1688  20  170S  26  1721  32  1731 

1742  Hamilton  Adaptation.'-  J.  Hardy  London.  pp.  22,  4to. 

1742             "                   "                        "  "  pp.  23,  4to. 

1742  "                   "  J.&R.  Ton.son  "  pp.  23,  4to. 

1743  "                   "                        "  "  pp.  .32,  8vo. 

39  1743  41     1-47  42     1752  43     1747 

1749  Oxford  Adaptation.  ?  8vo. 
1751     Hamilton  .Xdaptation.          Toiison  &c.             London  8vo. 

49     I 75 I  54     1752  60    1755  64     1758 

52  '752  55     1753  61     1756  6s     1759 

53  1752  56     1753  63     1758 

1750  Hamilton  Adaptation.  J.  &  R.  Tonson        London         8vo. 
66     1760               67     1761 

1762     Hamilton  Adaptation.  J.  &  R.  Tonson         London  4to. 

^'Samson  Agonistes.    An  Oratorio,  in  three  acts.    As  performed  in  the  Theatre 
Royal.     Altered  from  Millnn  (by  N.  Hamilton).    Set  to  music  by  Mr.  Handel. 


127] 


THE    PUBLICATION    OP    MILTON 'S    WORKS 


35 


70     1762 

71     1763 

1765     ? 

Adaptation. 

? 

Salisbury 

4to. 

75     1766 

85    1772 

88    1773 

95     1776 

102 

1782 

76    1767 

86    1773 

90    1774 

97     1777 

104 

178s 

80     1770 

87     1773 

91     1775 

100     1779 

1788    Tr. 

into 

Greek,  1)y  G. 

II. 

Glasse.     Oxford. 

Faulder. 

8vo. 

108     1790 

113     1793 

122     1796 

123     1796 

130 

1801 

109     1790 

119     1797 

1797.     Brit.  Theatre,  v.34. 


J.  Bell 


London 


8vo. 


Section  4    Publication  op  Comus 

Comns,  "as  adapted  for  the  stage,"  appeared  in  many  separate 
editions.  But  apart  from  tliese  adaptations,  there  seem  to  liave  been 
only  five  editions  of  the  Mask  separately  printed.  The  first  of  these 
separate  editions  were  the  first  two  editions  of  the  poem.  The  third  was 
in  1747.  The  last  two  were  at  the  very  end  of  the  Eighteenth  Century. 
The  Mask  was,  however,  printed  in  various  forms,  as  follows : 

1637  Comus,  as  acted  at  Ludlow,  1634 

1638  Comus. 


.^I    1645 

19     1698 

9     1673 

20     1705 

17     1695 

21     1707 

18     1695 

23     1713 

1738    Dalton 

Adaptation. 

1738 

*' 

1738 

'* 

1738 

a 

37     1741 


38    1742 


V,  1634-     H. 

Lawes. 

4to. 

J. 

Hughs. 

4to. 

25     1720 

31     1730 

26    I72I 

32     1731 

28  1725 

29   1727 

R.  Dodsley. 

London. 

8vo. 
8vo. 
8vo. 

S.  Powell. 

Dublin. 

8vo. 

39     1743 

London. 

12m 

43     1747 

A.  Millar. 

London. 

12m 

1744?  Dalton  Adaptation. 
1747     Coiiitis  (Original  Text) 

41     1747  42     1747 

1750    Dalton  Adaptation. 

'^^Cowus,  a  Mask:   (3  acts)  as  altered  by  John  Dalton,  from  Milton's  Mask. 

pp.  52. 

In  1737,  P.  Rolli  published  Sabrina,  a  Masque:  (in  three  acts  and  in  verse. 
Founded  on  the  Comus  of  Milton),  pp.  61.  Italian  &  English.  J.  Crichley.  Lon- 
don.    8vo. 


36 


THE    MILTON    TRADITION 


[128 


49     I7SI               54    1752 

52  1752               55     1753 

53  1752               56     1753 

60  I75S 

61  1756 
63     1758 

64  1758 

65  1759 

1759    Dalton  Adaptation. 
1760 

A.  Millar. 

Lx)ndon. 

8vo. 
8vo. 

66    1760              67    1761 

70    1762 

1762    Dalton  Adaptation. 

A.  Millar. 

London. 

8vo. 

71     1763               75     1766 

76    1767 

80     1770 

1772    Colman  .Adaptation 

? 

London. 

8vo.    (2  acts) 

85        1772              86    1773 

87    1773 

88    1773 

1774    Colman  Adaptation 

? 

London. 

8vo. 

90     1774               91     1775 

95     1776 

97     1777 

1776    Colman  Adaptation. 

J.  Bell. 

London. 

Br.  Theatre.  9 

1777 
1777 

J.  Wenman 

? 

i2mo. 
8vo. 

100      1779  102      1782 

1784    Colman  Adaptation. 


104    178s 


105     1785 


1786    Colman  Adaptation. 
1789    V.  Kno.x,  editor. 

108     1790  109    1790 

1791     Dalton  Adaptation. 

"3     1793  "9     1794 

1797  Dalton  Adaptation. 

1798  H.  J.  Todd,  editor. 

1799  Dalton  Adaptation. 
1799  T.  Warton,  editor. 
1801  V.  Knox,  editor. 

130     1801 


J.  Bell. 


? 

Ill     1791 

J.  Bell. 

122     1795 

J.  Bell. 

VV.  Bristow. 

J.  Bell. 

E.  Harding. 


London.        i2mo.       Supple- 
ment Br.  Theatre,    v.  4. 


Kdin. 
Lond. 


Lond. 

123     1795 
Lond. 


Br.  Stage,  v.  4. 
Etc.  Extracts. 


Br.  Thca.  v.  i. 


Br.  Thca.  v.  I. 
Canterbury.  8vo. 
London.        Br.  The  v.  I. 
pp.  124.    8vo. 
"  Elc.  Extracts. 


Comvs  was  written  by  Milton,  acted  at  LvuUow  Castle,  in  1()34,  and 
printed  by  Henry  Lawes  in  1637.  The  next  year,  J.  Huphs  brought 
out  a  seeoiid  ('(litioii.  Tlie  Musi;  Ijccanic  at  once  a  jinrt  of  tlie  Poems 
on  Several  Ocinxions  (1045).     As  sncli  alone  was  it  iiriiited  for  exactly 


129]  THE    PUBLICATION    OF    MILTON 's    WORKS  37 

one  hundred  years.  In  1738,  it  was  adapted  for  the  stage,  in  three 
acts,  by  the  Rev.  John  Daltou.  This  Adaptation  was  popular  both  on 
the  stage  and  on  the  market,  resulting  in  many  editions,  and  one  or 
more  attempts  later  to  share  the  glory  that  came  to  Dr.  Dalton. 

Dodsley's  edition  in  1741  was  the  sixth,  and  in  aU  probability  the 
Adaptation  was  printed  by  him  in  other  editions  in  1739  and  1740. 
There  seems  also  to  have  been  an  edition  in  1744,  for  BeU's  edition  in 
1799  is  said  to  follow  the  Adaptation  of  1744.  It  is  noteworthy,  that 
this  popular  Adaptation  seems  to  have  been  the  first  of  Milton's  Minor 
Poems  published  in  Ireland,  and  this  event  occurred  when  the  poem 
was  about  one  hundred  years  old. 

It  maj'  have  been  the  popularity  of  this  early  Adaptation  that 
provoked  some  conservative  spirit  to  bring  out  an  edition  of  the  original 
text  of  the  Ludlow  Masque  in  1747.  This  edition  seems,  however,  not 
to  have  hindered  the  popularity  of  the  Dalton  Adaptation,  which  con- 
tinued to  re-appear  at  intervals  to  the  very  end  of  the  century. 

In  1772,  George  Colman  transformed  Milton's  Comus  into  a 
Masque  of  two  acts,  for  the  Theatre-Royal  in  Covent  Garden.  The 
music  for  this  Masque  was  composed  by  Dr.  Arne ;  but  even  this  excel- 
lent support  of  music  did  not  enable  this  Adaptation  to  attain  the 
measure  of  popularity  enjoyed  by  that  of  Dr.  Dalton. 

From  this  account,  it  appears  that  the  original  Comus  was  printed 
sixty-three  times,  and  the  several  adaptations  eighteen  times,  making  a 
total  of  eighty-one  editions  for  Comus  during  the  period  covered  by  this 
discussion. 

Section  5    Publication  op  Lycidas 

Lycidas  never  had  many  attractions  for  the  stage,  though  there 
was  an  unsuccessful  attempt  to  turn  it  into  a  "musical  entertainment" 
on  one  occasion.  The  poem  was,  however,  more  popular  in  the  miscel- 
laneous collections  of  poetry  than  any  of  the  Minor  Poems  thus  far 
considered.    Lycidas,  in  various  ways,  appeared  as  follows: 

1638    Lycidas,  Memorial  Volume.    T.  Buck  &  R.  Daniel.    Cambridge 

Al     1645  17     169s"  19     1698  21     1707 

9    1673  18    169s  20     170S  23     1713 

1716    Dryden's  Miscellany,  4th  ed.   (Inserted  by  Fenton). 

25     1720  26     1721  28    1725  29     1727 

1727    Dryden's  Miscellany,  5th  ed. 
"In  1694,  Lycidas  was  translated  into  Latin  by  G.  Hog,  and  printed   in  quarto, 
pp.  19. 


38 


THE    MILTON    TRADITION 


[130 


31 

1730 

53 

1752 

67 

1 761 

90 

1774 

32 

1731 

54 

1752 

70 

1762 

91 

1775 

37 

1 741 

55 

1753 

71 

1763 

95 

1776 

38 

1742 

56 

1753 

75 

1766 

97 

1777 

39 

1743 

60 

1755 

76 

1767'^- 

100 

1779 

41 

1747 

61 

1756 

80 

1770 

102 

1782 

42 

1752 

63 

1758 

85 

1772 

104 

1785 

43 

1747 

64 

1758 

86 

1773 

105 

1785 

49 

I7SI 

65 

1759 

87 

1773 

52 

1752 

66 

1760 

88 

1773 

1789    Knox's  Elegant  Extracts,  ed.  1809.    Rook  iv.  No.  3. 
108     1790  109     1790  III     1791  113     1793 

1793     Ritson's  English  Anthology.     I,  45.     (Has  i  sonnet). 


119     I797> 


122     1796 


123     1796 


130    i8oi 


1801     Kno.x's  Elegant  E.rtracts. 


Section  6    Public.vtion  op  the  Comiwxion  Poems 

L 'Allegro  and  II  Penseroso 

By  far  the  most  popular  of  Milton's  Minor  Poems  during  the  Eight- 
eenth Century  were  the  Companion  Poems,  L'Allcgro  and  II  Penseroso. 
But  with  all  their  popularity,  tliese  pooms  were  ]iublishecl  in  very  few 
separate  editions,  as  is  indicated  in  the  following  list,  wlicre  both  poems 
appear  together  unless  otherwise  indicated. 


A I  1645 

17  1695 

19  1698 

21  1707 

9  1673 

18  1695 

20  1705 

23  1 71 3 

1716    Dryden's  Miscellany,  4th  ed.   (By  Fenton). 

25     1720  26     1721  28    1725  29     1727 

1727    Dryden's  Miscellany,  5th  cd. 


31     1730 


.•?2     1 73 1 


'°In  1767,  there  was  printed  Lycidas:  a  Musical  Entertainntcnt,  As  it  is  per- 
formed at  the  Theatre  Royal  in  Covent  Garden.  The  ll'ords  altered  from  Milton. 
By  W.  Jackson.    London.    Svo. 

"Milton's  Lycidas  is  liere  applied  to  the  Intc  breadi  made  in  the  Royal  Family, 
by  the  death  of  the  Duke  of  York.  Tlie  design  was  absurd,  and  the  performance 
was  treated  as  such  a  piece  of  impertinence  deserved."  The  idea  of  "mourning 
amusements"  was  ridiculed.     Mo.  Rev.  Nov.,   1767.     37  :,393- 

"In  1797,  J.  riumptrc  published  Miltonis  Poema  I.ycida.i,  Graece  redditum, 
pp.  27.     Cambridge.    410. 


131]  THE    PUBLICATION    OP    MILTON 's    WOKKS  39 

1740    Jennens-Handel  Adaptation. 

1740  "  "  "  "Another  edition." 

37  I 741  39     1743  42    1752 

38  1742  41     1747  43     1747 

1750  Jennens-Handel   Adaptation.     London.    8vo. 

1751  L'Allegro-Il  Penseroso,  pp.  22.     Foulis,  Glasgow.    4to. 

49     1751 

1752  L'Allegro,   Translated   into  Latin,  with   English  Text.     By   Christopher 
Smart,    Poems  on  Several  Occasions,  2v.  8vo.  1752.  vol.  II,  113  ff. 

52     1752  53     1752  54     1752  55     1753  56     1753 

'754    Jennens-Handel  Adaptation  (With  Dryden's  Song  for  St.  Cecilia's  Day). 

Tonson.     4to.,  pp.  20. 
I7S4 

60  1755      63  1758      65  1759      67  1761      71  1763 

61  1756      64  1758      66  1760      70  1762      75  1766 

1763  Smart's  Poems  on  Several  Occasions.     4to. 

1766  Translation  into  French. 

1767  Goldsmith's  The  Beauties  of  Englisit  Poesy.     Nos.  2-3. 

95     1776 


76 

1767 

8s 

1772 

87 

1773 

90 

1774 

80 

1770 

86 

1773 

88 

1773 

91 

1775 

1776    Goldsmith's  The  Beauties  of  English  Poesy. 
97     1777  100     1779 

1779    Jennens-Handel  Adaptation.     (Warton's  Milton,  1791,  xii.) 
1782    Translation  into  German  Prose.     English  opposite,     pp.  31,  8vo.     Mann- 
heim. 
102    1782  104     1785  105     1785 

1789    Knox's  Elegant  Extracts. 

108    1790  109    1790  III     1791 

1791     Poems  of  the  late  C.  Smart.    2v.     Reading.     i6mo. 

1793  Ritson's  English  Anthology.     1.    32,  38. 

113     1793 

1794  J.  Roach's  Beauties  of  the  Poets  of  Gr.  Brit.    v.  3. 
179s     Smart's  Poems  (Anderson,  11:185).    Only  Latin  Trans. 

119     1797  122     1796  123     1796 

1799    T.  Warton.  Account  of  the  Origin  of  Comus,  with 
Comus  and  Companion   Poems.     London.     8vo. 


40  THE    illl.TOX    TRADITIOX  [132 

1801     Knox's  Elegant  Extracts. 
130    1801 

L' Allegro  and  II  Penseroso  were  written  during  Milton's  quiet  re- 
tirement at  his  father's  home  at  Horton.  They  seem,  however,  not  to 
have  been  printed  until  the  Poems  on  Several  Occasions,  in  1645.  From 
that  setting,  they  were  first  removed  for  the  fifth  edition  of  Dryden's 
Miscellany  in  1716. 

In  1740,  these  poems  were  re-arranged  by  Charles  Jennens  (1700- 
1773 ) ,  and  set  to  music  by  his  friend,  Mr.  Handel,  whom  Tlioraas  War- 
ton  thought  more  honoured  than  honouring  in  thus  having  his  music 
"married  to  immortal  verse."^'  This  oratorio  arrangement  of  the 
poems  was  very  popular,  and  the  i)oems  in  this  form  went  through 
man}'  separate  editions,  as  shown  in  the  preceding  list.  Ilandel's  name 
was  often  associated  with  this  connection  between  his  music  and  Milton 's 
popular  poems,  and  it  may  have  been  the  repTitation  of  this  combina- 
tion that  led  to  the  translation  of  the  Companion  Poems  into  French 
(1766),  and  into  German  (1782). 

In  1751,  R.  &  A.  Foiilis  printed,  in  Glasgow,  what  seems  to  have 
been  the  only  edition  of  the  Companion  Poems,  apart  from  the  adapta- 
tions, that  was  separately  printed  during  the  period  under  discussion. 
In  all  their  forms,  these  poems  appeared  in  print,  according  to  the  above 
tabulation,  seventy-nine  times  up  to  the  year  1801. 

Section  7    Publication  of  the  Sm.uxer  Pieces  of  Milton's 

MiNOK  Poems 

It  is  sufficient  only  to  make  a  general  mention  of  tliese  smaller 
pieces  of  Milton's  poetry.  Very  early  most  of  them  were  gathered 
into  the  Poems  on  Several  Occasions,  in  1645.  Some  of  them,  of  course, 
were  written  later,  and  additions  were  made  to  the  second  edition  of 
the  Minor  Poems  in  1673.  Some  additions  were  made  in  later  editions 
of  the  Poetical  Works,  but  none  have  been  noticed  after  the  edition  of 
1711-13. 

Few  of  tliese  smaller  poems  ever  appeared  otherwise  than  in  com- 
bination with  the  other  Minor  Poems.  In  1692,  JulH  Mazirini,  Cardi- 
nalis,  Epitaphium:  Aidhore  John  Milton  was  included  in  Gildon's 
Miscellaneous  Poems  on  Several  Occasions.  Ten  years  later  (1702), 
Directions  to  a  Painter  concerning  the  Dutch  War,  by  Sir  John  Den- 
ham,  1667,  appeared  in  Poems  on  State  Affairs;  but  tlie  editor  claimed 
that  this  poem  was  "believed  to  be  writ  by  Mr.  Milton.'"" 

The  Jiatiii  and  Italian  poems  of  Milton  came  to  have  considerable 

'''Milton's  Poems  on  .Scv.  Occs.,  cd.  1791,  p.  xii. 

'"forms  on  Affairs  of  State,  5th  cd.,  1702.     I,  24  aiul  "Index." 


133]  THE    PUBLICATION    OF    MILTON 'S    WORKS  41 

interest  before  the  eud  of  the  Eighteenth  Century.  The  Latin  poems 
were  not  granted  the  rank  of  classical  poetry  without  considerable  de- 
bate. For  the  non-Latin  reading  public  some  of  these  were  translated 
into  English,  and  printed  in  that  form.  In  this  form  Mansus  appeared 
among  the  poems  of  the  Rev.  Joseph  Sterling,  a  student  and  imitator 
of  Milton,  about  the  year  1789 ;  but  the  translation  was  neither  faithful 
to  the  original  nor  otherwise  possessed  of  much  merit.^" 

In  1776,  Milton's  Italian  Poems  had  been  "translated,  and  ad- 
dressed to  a  Gentleman  of  Italy."  This  was  the  work  of  the  Rev.  Jolm 
Langhorne,  who  addressed  his  Translations  to  Sig.  Mozzi,  of  Macerata, 
an  Italian  gentleman  of  taste  and  genius.  Contemporary  criticism  was 
favourable  to  the  publication,  exalting  both  Milton's  excellence  in  the 
use  of  foreign  languages,  and  Dr.  Langhorne 's  ability  to  produce  an 
elegant  version  in  the  spirit  of  the  original.-" 

Thomas  Warton  concerned  himself  in  the  Latin  and  Italian  poems 
of  Milton  to  the  extent  of  almost  two  hundred  pages  in  his  editions  of 
the  Minor  Poems  in  1785  and  1791.  Between  the  two  editions  by  War- 
ton,  Philip  Neve,  in  his  Cursory  Remarks  (1789),  took  pains  to  empha- 
size the  large  biographical  content  of  these  poems,  and  to  indicate  some 
Latin  and  Italian  sources.-^  In  1791,  the  poet  William  Cowper  began 
a  complete  poetical  translation  of  the  Latin-Italian  poems  of  Milton  for 
the  Cowper-Hayley  edition  of  Milton's  Complete  Poetical  Works,  which 
was  published  in  1794-7.--  This  work  seems  to  have  taxed  the  strength 
of  the  poet,  whose  health  at  the  time  was  declining,  and  much  interesting 
matter  on  the  progress  and  difficulties  of  the  work  appeared  in  liis 
Letters  to  various  friends. 

Section  8    Publication  of  Milton's  English  Poems  in  Latin 
AND  Geeek  Translations 

The  translation  of  Milton  into  the  Classical  Languages  began  early, 
and  resulted  in  several  separate  editions  of  his  more  important  poems. 
Here,  as  usual,  however,  the  Major  Epic  absorbed  the  larger  share  of 
interest. 

Paradise  Lost,  Book  I.  was  translated,  by  Mr.  Power,  into  Latin 
and  published  in  1686,  and  again  in  1691.  The  Translation  seems  to 
have  been  completed,  published  in  folio  1692,  and  a  copy  of  it  presented, 

^■^Poems  by  the  Rev.  /—  5—     Cr.  Rev.  May,  1789,  67 :368. 

-"Milton's  Italian  Poems,  &c.  T.  Beckett,  London,  4to.  1776.  pp.  16.  Mo. 
Rev.  Nov,,  1776,  55:383-5.  Cr.  Rev.  Nov.,  1776,  42:389.  See  Chalmers,  Eng.  Poets, 
1810,  16:462-3,  473-5. 

^'Philip   Neve,   Cursory   Remarks    (1789),   pp.   116-120, 

-^The  Poetical  Works  of  IVm.  Cowper,  3  vols.,  edited  by  J.  Bruce,  1S96, 
vol.   Ill,   147-214,   for  these  Translations. 


42  THE    MILTON    TRADITION  [134 

by  Dr.  Bentley,  to  the  Trinity  College  Library.-  ■  Tlie  whole  of  Paradise 
Lost,  together  with  Paradise  Regained  and  Samson  Agonistes,  w-as  trans- 
lated by  W.  Hog,  in  1690.-* 

Another  complete  translation  of  Paradise  Lost  was  published  in 
1702.  This  was  the  work  of  M.  Bold,  which  re-appeared  in  1717,  and 
in  a  quarto  edition  in  1736.  In  the  year  1736,  Ricliard  Dawes  (1708- 
1766)  produced  a  Greek  translation  of  Paradise  Lost,  Book  I.,  which 
for  want  of  popularity  was  called  in  by  the  author.-''  Perhaps  earlier 
than  this  Greek  version,  Samuel  Say  (1676-1743)  had  translated  the 
opening  part  of  Paradise  Lost  into  Latin  hexameter.-"  Robert  Pitt,  a 
brother  to  Christopher  Pitt,  after  being  elected  fellow  of  Wadham  in 
1719,  displayed  scholarly  taste  in  a  Translation  into  Latin  of  five  books 
of  Milton's  Paradise  Lost.-' 

In  1741-44,  Joseph  Trapp  (1679-1747)  published,  at  liis  own  ex- 
pense and  heavy  loss,  a  ponderous  two  volume  Translation  of  Paradise 
Lost  into  Latin. -^  Slore  successful  was  the  two  volume  edition  by  Wil- 
liam Dobson,  which  appeared  in  1750-53.  This  was  pronounced  "a 
great  work,  whether  we  regard  the  sublimity  and  excellence  of  the 
original  poem,  or  its  length,  and  the  frequent  difficulty  of  translating 
it."  This  work  was  said  to  have  been  "executed  in  a  happy  manner. "-° 
Fourteen  years  later  the  Critical  Review  thought  that  Dobson  "deserves 
a  public  reward  from  his  countrj-,  for  having  extended  and  immortalized 
the  fame  of  the  great  English  poet  Milton,  in  his  admirable  Translation 
of  Paradise  Lost."^" 

In  perfect  harmony  with  tlie  above  sentiment,  was  that  of  Dr. 
James  Beattie,  when  he  affirmed  tliat  "many  of  the  finest  performances 
of  Pope,  Dryden,  and  Milton,  liave  appeared  not  ungracefully  in  a 
Roman  Dress. "^'  That  these  Translations  really  had  some  measure  of 
general  interest  was  evident  from  the  fact  that  llie  Gentleman's  Maga- 
zine planned  to  print  specimens  from  six  translations  for  general  com- 
parison. Five  only  were  i)rinted,  at  first,  and  some  of  those  indicated 
translations  other  than  tliose  considered  in  the  |)i-fei'ding  discussion. "- 
After  the   mid-century,   no   new   Ijulin   version   of  cither  Epic  seems  to 

=3Nichols,  Lit.  Illus.,  I,  8o. 

^'Printed  by  John  Darby,  London.    8vo.,  lOyo,  pp.  xx.wi,  510. 

"Cr.  Rev.,  May.  1782,  53:353-4. 

-"Poems  .  .  .  Tzvo  Essays.     Pub.   1745. 

"T.  Scccombe.  D.  N.  B.,  "Chr.  Pitt." 

="Gent.  Mag.,  June.  1744,  14  •..344.     N\'.  V   Cnnrlncy.    D.  N.  R.  "Tr.ipp." 

'"Mo.  Rev.,  Feb.,  1754.  10:136-144. 

'"Cr.  Rev.,  July,  1757,  4:90. 

"On   the    IJlilily  of  Classical   l.cartiiin;.     Hssay   on    irulli,  e<l.    1777,   vol.   II, 

521-522- 

•"Gent.  Mag..  Oct.  and  Dec.,  1746.     16:548-549,  661. 


135]  THE    PUBLICATION    OF    MILTON 's    WORKS  43 

have  appeared.  But  another  attempt  was  made,  by  Mr.  Stratford,  to 
translate  Paradise  Lost.  Book  I.,  into  Greek,  which  was  printed,  with 
Dobson's  Latin  Text,  in  1770.'' 

Besides  the  Translation  of  K^amson  Agoiiistrs  (1690),  this  Tragedy 
was  translated  into  Greek,  by  G.  H.  Glasse,  and  published  from  the 
Clarendon  Press,  Oxford,  in  1788.  The  work  called  for  an  extended 
Review,  which  has  been  inserted  in  one  of  the  British  Museum  copies. 

The  Minor  Poems  have  had  but  few  translations  into  the  classical 
languages.  Lycidas  seems  to  have  been  translated  into  Latin  in  1638, 
and  again,  by  W.  Hog,  in  1694.  Lycidas  was  also  translated  into  Greek 
by  the  Rev.  J.  Plumptre,  in  1797 ;  but  the  edition  was  unfavourably 
received.^*  Comets  was  translated  by  W.  Hog  in  1698,  and  published 
in  a  forty-seven  page  quarto  in  London.  The  L' Allegro  was  translated 
into  Latin  by  Christopher  Smart  (1722-1771),  and  printed  in  three  edi- 
tions of  his  own  poems  (1752,  1763,  1791),  and  in  Anderson's  British 
Poets  (11:185).  No  translation  of  //.  Pcnscroso  into  either  Latin  or 
Greek  has  been  found  in  the  present  investigation. 

Section  9    Publication  op  Milton's  Prose  Works 

The  Prose  Writings  of  Milton,  according  to  the  ' '  Chronological  List 
of  Works,"  given  by  John  P.  Anderson,  in  Eichard  Garnett's  Life  of 
John  Milton  (1890),  were  first  published  under  the  following  dates: 

1641  Of   Reformation    touching    Church-Discipline    in    England. 

1641  Of  Prelatical  Episcopacy. 

1641  Animadversions  upon  ....   defence   against  Sniectyinnuus. 

1641  Reasons  of  Church-Governiucnt  urg'd  against  Prelaty. 

1641  Apology   against  a   Pamphlet   called  A   Modest   Confutation. 

1643  Doctrine   and  Discipline    of  Divorce. 

1644  Of  Education.     To  Master  S.  Hartlib. 

1644  The  Judgment  of  Martin  Buccr,  nozc  English!. 

1644  Areopagitica. 

1644  Tetrachordon. 

1645  Colasterion. 

1649  Tenure  of  Kings  and  Magistrates. 

1649  Observations   upon    the   .Articles    of   Peace   icith    Irish   Rebels. 

1649  Eikonoklastes. 

1651  Pro  poputo  Anglicano  defcnsio  contra  Salniasiuni. 

1653  Letter  touching  the  Dissolution  of  the  late  Parliament. 

1654  Pro  populo  Anglicano  defensio  secunda. 
165s  Scriptum  Dom-Protectoris  contra  Hispanos. 
165s  Pro  se  defensio  contra  A.  Moruni. 

^^Paradisi  Amissi  &c.     Pp.  147.     S.  Powell,  Dublin.     1770.     4to. 

'*See  Section  5,  Note  14-16,  above;  and  Mo.  Rev.,  June,  1798.     107(26)  :227. 


44  THE    MILTOX    TRADITION  [136 

1659     Treatise  on  Civil  Poivcr  in  Ecclesiastical  Causes. 

1659  The  Likeliest  means   to   remove  Hirelings   out   of   the   Church. 

1660  Ready  and  easy  zcay  to  establish  a  free  Commomvealth. 

1669  .'Icccdence  commenc't  Grammar. 

1670  History  of  Britain. 

1672  Artis  Logicae  plenior  Iiistilutio. 

1673  Of  true  Religion,  Hcresie,  Schism,  Toleration,  6rc. 

1674  Epistolarum  familiarium  liber. 

1674    Declaration  or  Letters  Patents  of  the  Election  of  this  present  King  of 

Poland,  John  the  Third. 
1676    Literae  Pseudo-Sanatus  Anglicani,  Cromwellii,  &c. 

1681  Character  of  the  Long  Parliament  and  .Assembly  of  Divines  in  1641. 

1682  Brief  History  of  .\foscovia. 

The  Englisli  portion  of  these  M'orks  M-as  gathered  into  a  568  page 
folio  volume,  which  was  called  The  Works  of  John  Milton,  London, 
1697.  The  next  year,  A  Complete  Collection  of  the  Ristorical,  Political, 
and  Miscellaneous  Works  of  John  Milton,  both  English  and  Latin;  with 
some  Papers  never  before  Published,  was  edited,  with  a  I/ifc  of  Milton, 
by  John  Toland.  This  was  a  three  volume  folio  edition,  published, 
according  to  the  title-page,  in  Amsterdam,  though  the  work  was  proba- 
bly done  in  London.  The  next  complete  edition  of  the  prose  works 
was  that  edited,  with  a  Life  of  Milton,  by  Tlionias  Birch,  and  printed 
in  two  volumes  folio,  by  A.  jMillar,  London,  1738.  This  work  appeared 
in  a  second  edition,  re-edited,  with  the  assistance  of  Richard  Baron,  in 
three  volumes  folio,  printed  by  Millar,  in  1753. 

The  "Familiar  Letters"  of  Milton  were  first  collected  and  pub- 
lished by  Brabazon  Aylmer,  with  seven  of  Milton's  College  Exercises 
(in  Latin),  at  the  "Three  Pigeons"  in  Cornhill,  in  the  year  of  the 
Poet's  death  (1674).  These  pieces  were  published  under  the  conviction 
that  at  tliat  time  anything  from  I\Iiltou  would  sell.  Aylmer's  original 
plan  M'as  to  have  publi.shed  Jlilton's  Public  Letters  also  as  a  part  of  this 
edition.  But  the  Foreign  Office  of  Ciiarles  IL  prevented  the  carrying 
out  of  this  plan  because  of  aversion  to  the  publication  of  these  Public 
Letters.     (Masson,  I,  204.) 

These  Public  Letters  were,  however,  later  collected  and  ]iublished, 
with  a  Life  of  Milton,  by  his  nephew,  Edward  Phillips,  as  Letters  of 
Stale,  Written  by  John  Milton,  To  most  of  the  Sovereign  Princes  and 
Republicks  of  Europe.  From  the  Year  1619  Till  the  Year  Ki.'iO,  in  the 
year  1694.  Another  jmblieation  of  the  Original  Jjciters  and  Papers  of 
State,  Found  aininig  thi  Political  Colhrtions  of  Milton,  in  folio,  by  Jo. 
Nichols,  Jr..  aiipeat'cil  in   l<'clii-u,ii'y,  1743."'    Beyond  these  collected  edi- 

"'Gcnt.  MaR.,  Fcli.,  1743,   1.3:112.     This  work  has  not  been  seen,  and  it  is  not 
known  to  contain  anytliing  written  by  Milton. 


137]  THE    PUBLICATION    OP    MILTON 'S    WORKS  45 

tions,  already  considered,  the  prose  works  of  Milton  appeared  only  in 
separate  publications  of  the  several  pieces,  until  the  great  seven  volume 
editions,  with  Translations  and  Critical  Remarks  by  C.  Symmons,  from 
the  press  of  J.  Johnson,  in  1806. 

Apparently  the  most  popular  of  Milton's  single  Letters  were  the 

Epistola  ad  Pollio,  and  the  Scriptum  dom.  Protectoris contra 

Hispanos  (1655).  The  former  of  these  was  printed  in  folio,  by  T. 
Cooper,  in  two  editions,  in  1738,  and  another  edition  of  the  Latin  ap- 
peared in  1774.  It  was  also  translated  from  the  Latin,  and  illustrated 
with  Notes,  in  a  folio  edition,  London,  1740.  The  Manifesto  against  Spain 
dated  from  October  26,  1655,  and  was  translated  into  German  in  the 
same  year.  It  was  printed  in  English  Translation  in  three  editions, 
1738,  1740,  and  1741. 

Milton 's  History  of  Britain,  with  its  fundamental  doctrine  of  virtue 
and  liberty,^"  was  first  published  in  1670,  but  that  part  of  it  which 
described  the  "Character  of  the  Long  Parliament  and  Assembly  of 
Divines,  in  1641,"  was  expunged  by  the  Licenser.  This  rejected  portion, 
later  restored  to  the  History,  was  included  in  the  Harleian  Miscellany 
(vol.  V.)  in  1744.  The  History  itself  was  reprinted  in  octavo,  London, 
1677,  1678,  and  1695,  and  in  folio  in  1706,  and  again  in  1719.  The 
frequent  references  to  this  History  indicate  that  it  was  rather  widely 
read  during  the  Eighteenth  Century.^" 

The  Eikonoklastes,  after  its  first  publication  in  1649,  was  reprinted 
in  1650,  translated  into  French,  by  John  Dury,  under  the  sanction  and 
supervision  of  Milton,  in  1652,  ordered  suppressed  August  13,  1660, 
reprinted  in  1690,  and  edited  in  1756  by  Richard  Baron,  whose  edition 
was  printed  again,  for  the  benefit  of  his  family,  in  1770. 

The  Doctrine  and  Discipline  of  Divorce  was  published  in  1643,  and 
again  in  1644,  and  1645.  Considerations  Touching  the  Likeliest  Means 
to  Remove  Hirlings  out  of  the  Church,  after  the  original  edition  in 
1659,  appeared  as  a  supplement  to  Du  Moulin 's  treatment  of  the  same 
subject  in  1680,  and  in  separate  editions  in  1717,  and  1723.  The  Dis- 
cource  upon  the  Harmony  of  the  Spheres  was  printed  in  Translation, 
by  Francis  Peck,  in  his  Netv  Memoirs  of  Milton  (1740). 

The  Ready  and  Easy  Way  to  Establish  a  Free  Commonwealth 
(1660)  was  included  in  the  Harleian  Miscellany  (vol.  iv)  in  1744,  and 
was  printed  separately  by  Ridgeway  in  1791.  The  anonymous  editor  of 
this  last  edition  was  very  enthusiastic  over  this  pamphlet  of  Milton, 
both  for  its  intrinsic  worth,  and  because  "it  furnishes  a  rational  and 

3°"The  inseparable  connection  between  liberty  and  virtue  was  the  fundamental 
doctrine  of  Milton's  political  pamphlets  as  well  as  his  History,  and  he  emphasized 
it  both  in  Paradise  Lost  and  Para.  Regained."  C.  H.  Firth,  Milloii  as  an  Historian. 
Pro.  Br.  Acad.,  1907-S,  p.  257. 

'^Appendix  A. 


46  THE    MILTON    TRADITION  [138 

satisfactory  answer  to  the  splendid  sophistry  of  Edmund  Burke."  To 
all  this  enthusiasm,  a  critic  of  tlie  work  replied,  "If  it  be  democracy, 
it  is  not  liberty. "^^ 

The  Areopagitica  appeared  in  the  following  editions  separately 
printed : 

1644  Original  edition.  London.  4to. 

1738  Printed  by  A.  Millar.  London.  8vo. 

1772  Another  edition.  London.  8vo. 

1780  With  Blackburne's  Remarks  on  Johnson.  l6mo. 

1791  James  Losh,  editor.  London.  8vo. 

1792  ?  Blamire.  8vo. 

1793  Robert  Hall,  editor.  Robinsons.  8vo. 

Besides  these  editions,  there  was  a  very  popular  imitation  of  the 
treatise,  entitled,  Sur  la  liberie  dc  la  Presse,  imite  dc  I'  anglais  dc  Mil- 
ton. Par  Ic  Comte  de  Mirabcau.  Londrcs  (Paris?),  1788.  Another 
edition  was  printed  the  next  year;  and  there  seems  to  liave  been  another 
such  work  in  1789,  with  a  second  edition  in  1792. 

Archdeacon  Blackburne  included  the  Areopagitica  and  the  Tractate 
of  Education  in  his  Remarlxs  on  Johnson'.^  Life  of  Milton  because  he 
felt  tliat  these  two  writings  of  IMilton  were  not  as  well  known  as  they 
deserved  to  be.  But  when  the  edition  of  1792  came  out,  the  Critical 
Revifiv  said,  "This  tract  is  so  exceedingly  well  known  tliat  all  com- 
mendation of  it  must  be  superfluous."''-' 

The  Pro  Popiilo  Anglicano  Dcfensio  was  publislied  in  IC.^l,  with 
succeeding  cilitions  in  ]6r)l(l5),  1652,  and  1658.  The  work  was  burned 
in  France  soon  after  its  publication,  and  in  London,  by  the  common 
hangman, August  13,  1660,  along  with  the  Eilionoldastes.  It  survived 
the  persecution,  however,  and  was  translated  into  English,  by  Joseph 
Wasliington,  an  English  lawyer,  in  1692.''"  After  tliis  date,  it  became 
a  permanent  part  of  Milton's  Prose  Works.  No  other  separate  etlition 
of  the  work  has  been  noticed  until  the  time  of  the  French  Revolution. 

38Mo.  Rev..  Jan.,  1792,  88(7)  :i02. 

^"Cr.  Rev.,  Jan.,  1793,  n.  s.,  7:106. 

^''Joseph  Washington  was  the  son  of  a  wealthy  mercliant.  Robert  Washington, 
of  Leeds.  lie  was  a  friend  to  Lord  Soniniers,  and  a  coll.itoral  ancestor  of  (ieneral 
George  Washington  of  the  early  American  Colonies   (.Mlibonc). 

This  Translation  was  made,  according  to  the  Printer's  .Xdvertiscmcnt,  "partly 
for  (Washington's)  own  private  entertainment,  and  partly  to  gratify  one  or  two  of 
his  friends,  without  any  design  of  making  it  public."  But  the  Translation  was 
published,  soon  after  Washington's  death  in  i69i(?).  It  showed  the  tenor  of 
feeling  in  the  Washington  l'"amily,  and  established  a  probable  link  between 
Milton's  influence  and  the  cause  of  American  Liberty.  .Sparks,  Life  of  Gcorfic 
Washington.     Boston,  iSsi,  pp.  500-501. 


139]  THE    PUBLICATION    OF    MILTON 's    WORKS  47 

lu  1789,  there  was  printed  in  Paris  tlie  Thcorie  de  la  Roi/aufe  d'apres 
la  Doctrine  de  Milton.  Tliis  was  a  translation  from  the  Dcfensio,  by 
J.  B.  Salaville(  ?).  with  a  i)relinunary  dissertation  "Sur  Milton  et  ses 
ouvrages,"  which  was  attributed  to  Mirabeau.  There  was  probably  a 
close  connection  between  this  work  and  the  French  Revolution. 

By  far  the  most  printed  pie(^e  of  all  Milton's  Prose  was  the  Tractate 
of  Education,  which  was  addressed  to  Samuel  Hartlib  in  1644.  The 
multiplication  of  appearances  in  the  case  of  this  Tractate  was  due  to 
the  fact  that  it  was  added  to  the  Poems  on  Several  Occasions  in  1673, 
and  tended  to  remain  a  part  of  that  collection,  which  M^as  usually  ap- 
pended to  Paradise  Regained. 

1644    Original  edition.     Printer  and  place  not  given.     4to. 

A9     1673 

l6g8    Prose  U'ork-s,  edited  by  Toland. 

23     1713  25     1720 

1723     T.    Lefevre,   A    Compendious    IVay    of    Tcacliing    Ancient    and   Modern 
Languages.     J.   Downing,   London.     8vo.,  pp.  99-116. 

28     1725  29     1727  31     1730  32     1731 

1738     Prose  ]Vorks,  edited  by  T.  Birch.     I,  135-140. 

37  1741  39     1743  4-'     175-'  49     i/Sl 

38  1742  41     1747  43     1747 

1750  T.   Le    Fevre,   A    Compendious    Way   &c.   For    (!'.   Meadows,   London. 

4th  edition.     Svo.     pp.  126-148. 

1751  An  Essay  on  Education.    C.  Corbett,  London.     8vo. 

1752  German   edition. 

53     1752  54     1752  55     1753  56     1753 

1753  Prose   Works,  edited  by   Birch  and  Baron. 
60     1755  61     1756  66     1760 

1761     Essays  on  Education,  by  Milton,  Locke,  &■  the  Spectator. 
71     1763?  75     1766  8s     1772  108  1790 

1780  With  Blackburne's  Remarks  on  Johnson. 

1781  German  edition,  with  Paradise  Regained  &c. 

The  above  list  shows,  besides  the  two  German  editions,  thirty-four 
editions  of  the  Tractate  in  England.  But  the  1750  edition,  by  Le  Fevre, 
was  the  fourth  of  that  work,  which  seems  to  imply  two  other  editions 
of  the  Tractate,  making  a  total  of  thirty-six  times  for  that  treatise  to 


48  THE    MILTON    TRADITION  [140 

appear  before  1801.  The  very  tenacity  with  which  this  prose  tag  ad- 
hered to  the  Minor  Poems,  as  arranged  by  Milton  in  1673,  was  an 
expression  of  that  feeling  of  semi-sacredness  which  attached  itself  to 
everything  to  which  Milton  had  set  his  hand. 

The  separate  edition  of  1751,  published  by  Corbett,  has  the  interest 
of  being  "dedicated  to  the  Earl  of  Ilarcourt,  governor  to  the  Prince  of 
"Wales  and  Prince  Edward."*'  The  Essays  on  Education,  hy  Milton, 
Locke,  and  the  Authors  of  the  Spectator  (1761),  were  edited  by  R.  Wynne, 
who  added  "Observations  on  the  Ancient  and  Modern  Languages." 
Both  of  the  great  Reviews  agreed  tliat  this  volume  brought  together  the 
thought  of  the  most  considerable  modern  writers  on  the  important  sub- 
ject of  education.'*-  Archdeacon  Blackburne  added  the  Tractate  to  his 
Remarks,  for  the  reason  that  it 

"was  grown  scarce,  being  omitted  in  some  editions,  both  of  the  author's  prose  and 
poetical  works;  but  highly  worthy  (it  is)  to  be  preserved  as  prescribing  a  course 
of  discipline,  which,  though  out  of  fashion  in  these  times,  affords  many  useful 
lessons  to  those  who  may  have  abilities  and  courage  enough  to  adopt  some  of  those 
improvements,  of  which  the  modes  of  learned  education  in  present  practice  are 
confessedly  susceptible."'" 

The  foregoing  lists  of  the  publications  may  be  summarized  as  fol- 
lows, though  figures  after  1800  are  not  very  reliable  as  to  completeness. 
<'Gent.  Mag.,  July,  1751.    21:335. 

*=Mo.  Rev.,  July,  1761.    25:76.     Cr.  Rev.,  June.  1761.     11:500. 
*^Reiiiarks  on  Johnson's  Life  of  Milton.     1780,  p.   v. 


141] 


THE    PUBLICATION    OF    MILTON  S    WORKS 


49 


■^  -        5        '•      -^      -t:      i       5  o       o 

To    i68o   3334      4*    2             13312162 

1680-90  I      2*    2*                        2                    I 

1690-00  433      4*    4*    3232222231 

1700-10  3222221              I 

1710-20  3222331              I                     I                     2 

1720-30  6      3      4      4      S      5       I                                    I                     4 

1730-40  5215133?!              I       I       I      2      I      2 

1740-50  10      6     ID      9      5      6      2?    I                  ^  I                            6 

1750-60  13  12  15  14  13   8*  1   I   I   2/  I   I   I   1  12 

1760-70  16   6   8   7   7  10*  2        yi                                   3 

1770-80  14  12   9  14   9  I!                    2      2 

1780-90  745867                                                         12 

1790-01   16      8      6     12      9*  14*                                 I              3 

l8oi-iot  15      8                     8t 

1810-20  II      4                    4 

1820-30  75                     4 

1830-40  65                     4 

1840-43  22                     2 

♦Includes  Latin  and  Greek  Translations. 
tBr.  Mus.  Cat.,  after  Anderson. 
tMinor  Poems. 

In  these  facts  of  the  publication  of  Milton's  works  a  few  points  of 
interest  are  prominent.  There  was  an  obvious  tendency  to  publish  the 
significant  parts  of  the  Prose  Works  in  connection  with  the  revolutionary 
movements  of  the  period  under  consideration.  The  Poetry,  however, 
showed  a  more  even  increase  in  volume,  rising  high  at  the  middle  of 
the  Eighteenth  Century,  and  maintaining  itself  throughout  the  Romantic 
Movement. 

Throughout  the  period.  Paradise  Lost  was  the  poem  of  central 
interest,  far  more  than  the  final  summary  would  seem  to  indicate,  al- 
though the  summary  shows  the  editions  of  Paradise  Lost,  as  a  rule, 
greatly  to  exceed  in  number  those  of  any  other  part  of  the  Poetry.  In 
seventeen  title-pages  of  the  Poetical  Works,  everything  is  subordinated 
to  Paradise  Lost,  in  a  manner  apparently  designed  to  catch  the  public 
eye.     In  twelve  title-pages,  the  Minor  Poems  are  likewise  "added  to" 


50  THE    MILTON    TRADITION  [142 

Paradise  Regained,  as  pointed  out  on  page  33  above.  Some  of  these 
title-pages  represent  multiplied  editions  of  the  poems,  and  of  the  poet- 
ical works.  The  subordination  of  the  Minor  Poems  was  further  empha- 
sized in  the  fact  that  they  multiplied  the  editions  not  as  poems,  but  as 
adaptations  into  entertainments. 

The  truth,  whatever  its  bearings  upon  the  Milton  question,  is  that 
the  English  people  of  this  period  invested  their  Milton-money  pre-emi- 
nently in  Paradise  Lost.  The  amount  of  money  thus  expended,  if  cor- 
rectly known,  would  present  figures  tiiat  would  stagger  the  imagination. 


CHAPTER    III 

Poetical  Tributes  to  Milton 

One  begins  to  enter  into  the  full  current  of  a  great  national  influ- 
ence when  one  reads  the  heart  of  poets,  the  mind  of  critics,  and  the 
problems  of  historians,  who  profoundly  feel  and  profoundly  study  the 
tendencies  of  their  times.  The  common  rabble  may  feel  the  throbbing 
impulse  of  national  enthusiasm.  They  may  fall,  even  blindly,  into  the 
full  current  of  great  national  movements.  They  may  exalt  a  national 
hero,  or  saint,  or  poet,  to  the  pinnacle  of  idolatry.  But  it  requires 
penetrating  genius,  and  careful  scholai'ship,  to  analyze,  and  direct,  and 
adequately  express  the  real  cause  that  gives  rise  to  such  enthusiastic 
national  movements. 

Turning  now  to  the  poets  of  this  period,  who  have  felt  their  way 
deep  into  the  heart  of  Miltonic  interests,  one  may  hear,  even  from  Mil- 
ton's own  day,  a  definite,  harmonious,  and  persistent  note  of  poetic 
praise  that  is  full  of  significance. 

The  earliest  Tributes  belong  to  the  period  of  Milton 's  Minor  Poetry, 
and  come  from  the  genial  land  of  Italy,  where  Milton  was  known  and 
admired,  if  not  really  loved.  Some  of  them  are  given  here  in  the  Eng- 
lish translation  by  William  Cowper,  as  furnishing  a  significant  compass 
at  once  of  the  entire  period  under  consideration.  The  other  Tributes 
follow,  approximately  at  least,  in  their  chronological  order. 

1  What  features,  form,  mien,  manners,  with  a  mind 
1645  Oh  how  intelHgent,  and  how  refined ! 

Were  but  thy  piety  from  fault  as  free, 
Thou  wouldst  no  Angle  but  an  Angel  be. 

2  Meles  and  Mincio  both  your  urns  depress ! 
164s  Sebetus  boast  henceforth  thy  Tasso  less ! 

But  let  the  Thames  o'erpeer  all  floods  since  he, 
For  Milton  famed,  shall,  single,  match  the  three. 

3  Greece  sound  thy  Homer's,  Rome  thy  Virgil's  name, 
1645  But  England's  Milton  equals  both  in  fame. 

51 


52  THE    MILTON    TRADITION  [144 

4  In  Ocean's  blazing  flood  enshrined, 
164s  Whose  vassal  tide  around  her  swells, 

Albion,  from  other  realms  disjoined, 

The  prowess  of  the  world  excels ; 

She  teems  with  heroes  that  to  glory  rise, 

With  more  than  human  force  in  our  astonished  eyes. 

To  Virtue,  driven  from  other  lands, 

Their  bosoms  yield  a  safe  retreat; 

Her  law  alone  their  deed  commands. 

Her  smiles  they  feel  divinely  sweet; 

Confirm  my  record,  Milton,  generous  youth ! 

And  by  true  virtue  prove  thy  virtue's  praise  a  truth. 

Babel  confused,  and  with  her  towers 

Unfinished  spreading  wide  the  plain, 

Has  served  but  to  evince  tliy  powers. 

With  all  her  tongues  confused  in  vain, 

Since  not  alone  thy  England's  purest  phrase 

But  every  polished  realm  thy  various  speecli  displays. 

The  secret  things  of  heaven  and  earth, 

By  Nature,  too  reserved,  concealed 

From  other  minds  of  highest  worth, 

To  thee  are  copiously  revealed ; 

Thou  knowest  them  clearly,  and  thy  views  attain 

The  utmost  bounds  prescribed  to  moral  truth's  domain. 

Give  me,  that  I  may  praise  thy  song, 

I  who  beside  the  Arno  strain 

To  match  thy  merit  with  my  lays. 

Learn,  after  many  an  effort  vain, 

To  admire  thee  rather  than  to  praise ; 

And  that  by  mute  astonishment  alone, 

Not  by  the  faltering  tongue,  thy  worth  may  best  be  known. 

5  As  he,  who  fought  at  Barriers  with  Salmasius, 
167 —  Engag'd  with  nothing  but  his  Stile  and  Phrases; 


•The  Neapolitan,  John  Baptist  Manso,  To  the  Englishman.  John  Milton. 
2John  Salsillo  of  Rome,  An  Epigram.  To  John  Milton.  "Selvaggi,  To  John  Milton. 
^Signior  Antonio  Francini,  An  Ode. 

All  published  by  Milton,  with  an  apology,  in  Ills  Poems,  1645.  Translated 
by  Wm.  Cowper,  1791  &c,  and  published  in  Wm.  Haylcy's  edition  of  Milton's 
Poems  trans'd  by  Cowper,  1802,  pp.  2-7.  See  Cowficr's  Poetical  U'orks  (J.  Bruce), 
3  vols.,   1S96.     Ill,   139-146. 


145]  POETICAL    TRIBUTES   TO   MILTON  53 

Wav'd  to  assert  the  Murther  of  a  Prince, 

The  Author  of  false  Latin  to  convince; 

But  laid  the  Merits  of  the  cause  aside, 

By  those,  that  understood  them,  to  be  try'd 

And  counted  breaking  Priscian's  Head  a  thing 

More  capital,  than  to  behead  a  King, 

For  which  h'  has  been  admir'd  by  all  the  Learn'd, 

Of  Knaves  concern'd,  and  Pedants  unconcerned. 

6  O  Thou,  the  wonder  of  the  present  age, 
Wr.  B4      An  age  immers'd   in  luxury  and  vice ; 
1674  A  race  of     triflers ;  who  can  relish  naught. 

But  the  gay  issue  of  an  idle  brain  ; 

How   could'st   thou    hope   to    please    this   tinsel   race! 

Though  blind,  yet,  with  the  penetrating  eye 

Of  intellectual  light,  thou  dost   survey 

The  labyrinth  perplex'd  of  Heaven's  decrees ; 

And  with  a  quill  pluck'd  from  an  Angel's  wing. 

Dipt  in  the  fount  that  laves  the  eternal  throne, 

Trace   the  dark  paths  of   Providence  Divine, 

And   justify  the  ways  of  God  to   man. 

7  Qui  legis  Amissam  Paradisum,  grandia  magni 
1674  Carniina  Miltoni,  quid  nisi  cincta  legis?  &c. 

8  When  I  beheld  the  Poet  blind,   yet  bold, 
1674  In  slender  books  his  vast  design  unfold, 

Messiah  crowned,  God's  reconciled  decree, 
Rebelling  angels,  the  forbidden  tree. 
Heaven,  hell,  earth,  chaos,  all ;   the  argument 
Held  me  awhile  misdoubting  his  intent. 
That  he  would  ruin   (for  I  saw  him  strong) 
The  sacred  truths  to  fable  and  old  song, 
(So  Samson  groped  the  temple's  post  in  spite) 
The  world  o'erwhelming  to  revenge  his  sight. 

Yet  as  I  read,  soon  growing  less  severe, 
I  liked  his  project,  the  success  did   fear ; 


'^Saml  Butler  (1612-1680).  Fragment  of  an  intended  Sec.  Part  of  the  .  .  . 
Satyr.  After  Hudibras  (Masson.  Milton,  6:636).  Genuine  Remains  (R.  Thyer). 
1759.     I,  220. 

«"F(rancis)  C(raddock).  1680."  Member  with  Milton  of  the  Rota  Qub. 
To  Mr.  John  Milton,  On  ...  .  Par.  Lost.  Fawkes  &  Woty,  The  Ptl.  Calendar, 
8 :69.    H.  J.  Todd,  Life  of  Milton,  1826,  199-200. 

'Saml.  Barrow,  M.D.,  In  Paradisum  Amissam  summi  Poetae  Joannis  Miltoni. 
This  poetical  tribute  was  prefixed  to  the  1674  edition  of  Par.  Lost,  and  has  been 
many  times   reprinted  with   it. 


54  THE    MILTON    TRADITION  [146 

Through  that  wide  field  how  he  his  way  should  find, 
O'er  which  lame  faith  leads  understanding  blind ; 
Lest  he  perplex  the  things  he  would  explain, 
And  what  was  easy  he  should  render  vain. 

Or  if  a  work  so  infinite  he   spanned, 

Jealous  I  was  that  some  less  skilful   hand 

(Such  as  disquiet  always  what  is  well, 

And  by  ill  imitating  would  excel) 

Might  hence  presume  the  whole  creation's  day 

To  change  in  scenes,  and  show  it  in  a  play. 

Pardon  me.  mighty  poet,  nor  despise 

My  causeless,   yet   not  impious,   surmise. 

But  I  am  now  convinced,  and  none  will  dare 

Within  thy  labours  to  pretend  a  share. 

Thou  hast  not  missed  one  thought  that  could  be  fit, 

And  all  that  was  improper  dost  omit; 

So  that  no  room  is  here  for  writers  left. 

But  to  detect  their  ignorance  or  theft. 

That  majesty  which  through  thy  work  doth  reign 
Draws  the  devout,  deterring  the  profane; 
And   things   divine   thou   treat'st   of   in   such   state 
As  them  preserves,  and  thee,  inviolate. 
At  once  delight  and  horror  on  us  seize, 
Thou  sing'st  with  so  much  gravity  and  ease, 
And  above  human  flight  dost  soar  aloft. 
With  plumes  so  strong,  so  equal,  and  so  soft: 
A   bird  named  from  tliat  paradise  you  sing 
So  never  flags,  but  always  keeps  on  wing. 
Where  could'st  thou  words  of  such  a  conpass  find? 
Whence  furnish  such  a  vast  expanse  of  mind? 
Just  Heaven  thee,  like  Tiresias,  to  requite. 
Rewards  with  prophecy  thy  loss  of  sight. 

Well  mightst  thou  scorn  thy  readers  to  allure 
With  tinkling  rhyme,  of  thy  own  sense  secure. 
While  the  Town-Bayes  writes  all  the  while,  and  spells. 
And  like  a  packhorse  tires  without  his  bells. 
Their  fancies  like  our  bushy  points  appear : 
The  poets   tag  them,   we   for   fashion  wear. 
I  too,  transported  by  the  mode,  offend, 
And  while  I  meant  to  praise  thee,  must  commend ; 
Thy  verse  created  like  thy  theme  sublime. 
In  number,  weight,   and   measure,  needs  not   rhyme. 


•Andrew  Marvell  (1620-1678).     On  Paradise  Lost,  prefixed  to  the  1674  edition. 
Poems  of  A.  Marvell   (G.  A.  Aitken),  pp.   109-111. 


147]  POETICAL    TRIBUTES    TO    MILTON  55 

9  ....     His  age  and  fruit  together  ripe, 
Wr.  c.        Of  which  blind   Homer  only  wa.s  the   type : 
1674  Tiresias  like,  lie  mounted  up  on  high. 

And  scorn'd  the  tilth  of   dull  mortality; 
Convers'd  with  gods,  and  grac'd  their  royal  line, 
All  ectasie,  all  rapture,  all  divine!  ) 

Daphnis,  the  great   reformer  of   our   isle ! 
Daphnis,  the  patron   of  the  Roman  stile ! 

Who  first  to  sense  converted  doggrel  rhimes. 
The  Muses'  bells  take  off,  and  stopt  their  chimes; 

On  surer  wings,  with  an  immortal  flight. 
Taught  us  how  to  believe,  and  how   to  write ! 

Even  tombs  of  stone  in  time  will  wear  away; 

Brass  pyramids  are  subject  to  decay; 

But  lo !   the  poet's   fame  shall  brighter  shine 

In  each  succeeding  age, 

Laughing  at  the  baffled  rage 
Of  envious  enemies  and  destructive  time. 

10  Milton,  whose  Muse  with  such  daring  Flight, 
Written     Lead  out  the  warring  Seraphim  to  fight. 

1680 

11  Let  each  man  begin  without  delay; 
1682  But  he  must  do  more  than  I  can  say. 

Must  above  Cowley,  nay,  and  Milton  too  prevail, 

Succeed  where  great  Torquato,  and  our  greater  Spencer  fail. 


"Chas.  Goodall  (1671-1689).  A  Propitiatory  Sacrifice  to  the  Ghost  of  J.  M., 
in  a  Dialogue  between  Thyrsis  and  Corydon.  Poems  by  a  late  Scholar  of  Eaton, 
1689,  p.  115.     H.  J.  Todd,  Lf.  of  Milton,  202, 

""John  Oldham  (1653-1683).  Bion.  A  Pastoral.  On  the  Death  of  the  Earl 
of  Rochester.    Poems  &   Trans.,  Lond.,  1684,  p.  82. 

"John  Sheffield,  Duke  of  Buckingham  (1648-1721).  An  Essay  Upon  Poetry. 
Chalmers,  Eng.  Pts.,  10:91-94.  Found  also  in  J.  E.  Spingarn's  Crit.  Essays  of  the 
17th  Cent.,  2:286-296. 

The  development  of  these  lines,  from  the  forms  here  given,  to  that  of  their 
final  revision,  is  parallel  with   the  solidifying  of  conservative  national  opinion  in 
its  gradual  exaltation  of  Milton.     The  editon  of  1713  reads, 
Must  above  Milton's  lofty  flights  prevail, 
Succeed  where  Spenser,  and  even  Torquato  fail. 

Dr.  Johnson  observed  this  transition.  He  says,  "At  the  time  when  this  work 
first  appeared,  Milton's  fame  was  not  yet  fully  established,  and  therefore  Tasso 
and  Spenser  were  set  before  him  ....  The  last  line  in  succeeding  editions  was 


56  THE    MILTOX    TRADITION  [148 

12  Milton  did  the  wealthy  mine  disclose, 

1677  ?         And  rudely  cast  what  you  could  well  dispose ; 
He  roughly  drew,  on  an  old-fashioned  ground, 
A  chaos ;  for  no  perfect  world  was  found. 
Till  through  the  heap  your  mighty  genius  shined : 
He  was  tlie  golden  ore  which  you  refined. 

13  To  whom  ev'n  the  fanatics'  altars  raise, 

1682  Bow  in  their  own  despite,  and  grin  your  praise ; 

As   if  a  Milton   from  the  dead   arose, 
Fil'd  off  the  rust,  and  the  right  party  chose. 

14  Have  you  forgot  how  Raphael's  numerous  prose 
1684  Led  our  exalted   souls  thro'  heavenly   camps. 

And  mark'd  the  grounds  where  proud  apostate  thrones 
Defied  Jehovah!  (continues  27  lines  of  blank  verse). 

Oh  may  I  live  to  hail  the  glorious  day, 

And  sing  loud  paeans  through  the  crowded  waj-, 

When  in  triumphant  state  the  British  Muse, 

True  to   herself,   shall  barbarous  aid  refuse. 

And  in  the  Roman  majesty  appear, 

Which  none  know  better,  and  none  come  so  near. 

15  Now,  in  soft  notes,  like  dying  swans  he'd  sing, 
1688  Now  tower  aloft,  like  eagles  on  the  wing; 

Speak  of  adventurous  deeds  in  such  a  strain, 
As  all  but  Milton  would  attempt  in  vain ; 
And  only  there,  where  his  rapt  Muse  does  tell 
How  in  the  aetherial  war  the  apostate  Angels  fell. 


shortened,  and  the  order  of  names  continued;  but  now  Milton  is  at  last  advanced 
to  the  highest  place,  and  the  passage  thus  adjusted   (ed.  1723)  : 
Must  above  Tasso's  lofty  flights  prevail, 
Succeed  where  Spenser,  and  even  Milton  fail." 
Dr.  Johnson,  Life  of  Sheffield.    Cf.  Spingarn,  above,  p.  356. 

'-  and  "Nath.  Lee  (i6s3?-i692).  Both  addressed  to  Drydcn  :  '=on  his  Slate 
of  Innocence ;  "  on  Absalom  &  Achitoplxcl,  and  written  probably  in  1677  and  1682 
respectively. 

'<Wentworth  Dillon,  4th.  Earl  of  Roscommon  (1633-1685).  Essay  on  Trans- 
lated Verse,    ^nd  lid.    i6Ss.    Chalmers,  Eng.  Poets,  8:264. 

''■Anonymous.  Poems  to  the  Memory  of  Edm.  Walter.  Esq.  H.  J.  Todd, 
Life  of  Milton,  1826,  p.  201.  Geo.  Granville  (1667-1735),  Lord  Lansdowne's  poem 
To  the  Itnnwrtal  Memory  of  Waller,  and  also  his  To  Flavia,  have  allusions  to 
Paradise,  or  Eden.     Chalmers.  Eng.  Poets,  11:13,  17. 


149]  POETICAL    TRIBUTES    TO    MILTON  57 

16  Three  poets,  in  three  distant  ages  born, 
1688  Greece,  Italy,  and  England  did  adorn. 

The  first  in  loftiness  of  thought  surpassed; 
The  next  in  majesty  ;  in  both  the  last. 
The  force  of  Nature  could  no  farther  go ; 
To  make  a  third,  she  joined  tlie  other  two. 

17  The  Daring  Muse  unbeaten  paths  shall  tread, 

1691  In  Visionary  Dreams  of  Rapture  led, 
Descend  into  the  Region  of  the  Dead, 
Elysian  Bow'rs,  where  Waller's  well-tuned  Lyre 
The  Art  of  Numbers  shall  instruct  the  Quire, 
Where  Milton  on  Eternal  Roses  lies, 

Deep  Wrapt  in  Dreams  of  his  own  Paradise : 

Th'  adventurous  Muse,  with  this  kind  vision  charm'd. 

Shall  question  Fate,  consult  the  Sacred  Throng,  &c. 

18  Or  mighty  Milton  walks  thro'  paths  untrod,       ' 

1692  And  sings  the  ancient  Wars  of  God. 

19  Here  reading  how  fond  Adam  was  betray'd, 
1694  And  how  by  sin  Eve's  blast'd  charms  decay'd ; 

Our  common  loss  unjustly  you  complain; 
So  small  that  part  of  it,  which  you  sustain. 

You  still,  fair  mother,  in  your  offspring  trace 
The  stock  of  beauty  destin'd  for   the  race: 
Kind  Nature,  forming  them,  the  pattern  took 
From  Heaven's  first  work,  and  Eve's  original  look 

You,  happy  saint,  the  serpent's  power  control : 
Scarce  any  actual  gilt  defiles  your  soul ; 
And  Hell  does  o'er  that  mind  vain  triumph  boast. 
Which  gains  a  Heaven,  for  earthly  Eden  lost. 


I'John  Dryden  (1631-1700).  Epigram  on  Milton,  placed  under  his  portrait  in 
the  folio  edition  of   1688. 

This  Epigram  was  very  popular  in  the  i8th.  Century  and  later.  Walter  Ham- 
ilton (Parodies,  II,,  233-236)  gives  39  parodies  of  this  Epigram.  Others  may  be 
found  in  And's  Br.  Pts.,  8:548  (by  Wm.  Pattison,  1728),  and  in  Chalmers,  Eng. 
Pts.,  16:51  (by  C.  Smart,  1753).  Cowper  wondered  that  it  had  never  been  trans- 
lated into  Latin,  and  undertook  the  task  himself.  (Letter  To  The  Rev.  Wm.  Un- 
win,  July  II,  1780). 

i^Nahum  Tate  (1652-1715).  A  Poem,  occasioned  by  the  late  Discontent  and 
Disturbances  in  the  State,  rdgi.    Poems  on  Affairs  of  State,  vol.  iv.  285-309.  p.  309. 

^^The  Athenian  Mercury,  Sept.  17,  1692.     Ath.  Oracle,     i.  270. 

i*Matt.  Prior  (1664-1721).  To  The  Lady  Piirsley.  Written  in  her  Paradise 
Lost. 


58  THE    MILTOX    TRADITION  [150 

With  virtue  strong  as  yours  had  Eve  been  arm'd, 
In  vain  the  fruit  had  blushed,  or  serpent  charmed ;    ', 
Nor  had  our  bliss  by  penitence  been  bought ;  / 

Nor  had   frail  Adam  fall'n.  nor  Milton  wrote. 

20  See  here  how  bright  the  lirst-born  virgin  shone, 
1694  And  how  the  first  fond  lover  was  undone. 

Such  cliarming  words,  our  beauteous  Mother  spoke. 
As  Milton  wrote,  and  such  as  yours  her  look. 
Yours,  the  best  copy  of  th'  original  face. 
Whose  beauty  was  to  furnish  all  the  race : 
Such  chains  no  other  could  escape  but  he ; 
There's  no  way  to  be  safe,  but  not  to  see. 

21  But  Milton  next,  with  high  and  haughty  stalk, 
1694  Unfettered  in  majestic  numbers  walks: 

Apr.  3        No  vulgar  hero  can  his  Muse  engage ; 

Nor  earth's  wide  scene  confine  his  hallow'd  rage. 
See !   See !  he  upwards  springs,  and  towering  liigh 
Spurns  the  dull  province  of  mortality. 
Shakes  Heaven's  eternal  throne  with  dire  alarms. 
And  sets  the  Almighty  thunderer  in  arms. 
Whate'er  his  pen  describes  I  more  than  see, 
Whilst  every  verse,  arrayed  in  majesty. 
Bold  and  sublime,  my  whole  attention  draws. 
And  seems  above  the  critic's  nicer  laws. 
How  are  you  struck  with  terrour  and  delight. 
When  angel  with  arch-angel  copes  in   fight ! 
\\'hen   great  Messiah's  outspread  lianner  shines. 
How  docs  the  charriot  rattle  in  liis  lines ! 

What  sound  of  brazen-wheels,  what  thunder,  scare, 
And  stun  the  reader  with  the  din  of  war! 
With   fear  my  spirits  and  my  blood  retire. 
To  see  the  seraph  sunk  in  clouds  of  fire; 
But  when,  with  eager  steps,  from  hence  1  rise, 
And  view  the  first  gay  scenes  of  Paradise ; 
What  tongue,  what  words  of  rapture  can  express 
A  vision  so  profuse  of  pleasantness! 
Oh  had  the  poet  ne'er  profaned  his  pen. 
To  varnish  o'er  the  guilt  of  faithless  men  ; 
His  other  works  might  have  deserved  applause ! 
But  now  the  language  can't  support  the  cause; 


2»Samc.  To  The  Couiilcss  of  Dorset.  Written  in  her  Milton.  Probably  in 
her  special  copy  of  the  1688  edition.  Chalmers,  Eng.  Pts.,  10:1,34.  Prior's  Poems, 
Aldinc  Ed.,  I.,  38,  39. 

-'Joseph  Addison  (1672-1719).  .In  .-Icet.  of  the  Greatest  Eni/lish  Poets.  To 
Mr.  Ilcnry  Sacheverell,  April  3,  1694.    Chalmers,  F.ng.  Poets,  9:529-530 


151]  POETICAL    TRIBUTES    TO    MILTON  59 

While  the  clean  current,  tlicnigh  serene  and  bright, 
Betraj's  a  bottom  odious  to  the  sight. 

22  Hear  then,  great  bard,  who  can  alike  nispire 
1694?  With  Waller's  softness,  or  with  Milton's  fire; 

Whilst  I,  the  meanest  of  the  Muses'  throng, 
To  thy  just  praises  tune  th'  advent'rous  song. 
How  am   I  filled  with  rapture  and  delight 
When  gods  and  mortals,  mixed,  sustain  the  fight ! 
Like  Milton,  then  though  in  more  polished  strains, 
The  chariots  rattle  o'er  the  smoking  plains. 
What  though  archangel  'gainst  archangel  arms, 
And  highest  Heaven  resounds  with  dire  alarms ! 
Doth  not  the  reader  with  like  dread  survey 
The  wounded  gods  repuls'd  with   foul  dismay? 

23  These  sacred  lines  with  wonder  we  peruse 
1698?  And  praise  the  flights  of  a  seraphic  Muse, 

Till  thy  seditious  prose  provokes  our  rage. 
And  soils  the  beauties  of  thy  brightest  page. 
Thus  here  we  see  transporting  scenes  arise. 
Heaven's  radiant  host,  and  opening   Paradise; 
Then  trembling  view  the  dread  abyss  beneath. 
Hell's  horrid  mansions,  and  the  realms  of  Death. 

Whilst  here  thy  bold  majestic  numbers  rise, 
And  range  th'  embattled  legions  of  the  skies, 
With  armies  fill  the  azure  plains  of  light, 
And  paint  the  lively  terrours  of  the  fight. 
We  owe  the  poet  worthy  to  rehearse 
Heaven's  lasting  triumphs  in  immortal  verse. 
But  when  thy  impious,  mercenary  pen 
Insults  the  best  of  princes,  best  of  men. 
Our  admiration  turns  to  just  disdain. 
And  we  revoke  the  fond  applause  again. 

Like  the  fall'n  angels  in  their  state. 
Thou  shar'dst  their  nature,  insolence  and  fate : 
To  harps  divine,  immortal  hymns  they  sung. 
As  sweet  thy  voice,  as  sweet  thy  lyre  was  strung. 
As  they  did  rebels  to  the  Almighty  grow. 
So  thou  profan'st  His  image  here  below. 
Apostate  Bard!  may  not  thy  guilty  ghost. 
Discover  to  its  own  eternal  cost. 
That  as  they  Heaven,  thou  Paradise  hast  lost ! 


-=Lord  Middlesex,  Chas.  Sackville  (1638-1706),  To  Mr.  Pope.  On  Reading 
Mr.  Addison's  Acct.  of  the  Eng.  Poets.    Chalmers,  Eng.  Pts.,  12:135. 

2^Dr.  Thos.  Yalden  (1670-1736).  On  The  Re-Printing  Milton's  Prose  Works 
with  his  poems.  Written  in  his  Paradise  Lost,  .'\nderson,  Er.  Pts.,  7:762.  Chalm- 
ers, Eng.  Pts.,  II  :74. 


60  THE   MILTON    TRADITION  [152 

24  If  this  30U  can,  your  care  you'll  well  bestow, 

1700  And  some  new  Milton  or  a  Spenser  grow. 

25  Why  am  I  thus,  of  late,  uneasy  grown? 

1701  Why  thus  aside  my  best-loved  Milton  thrown? 

26  But  when  sometimes  we  would  unbend  our  care 
1701  From  studies  too  abstracted  and  severe, 

Then  Poetry  we  read. 

The  lofty  Milton  was  our  usual  choice,  ^ 

Whose  elevated,  more  than  human  voice. 
Is  tun'd  to  Angels'  ears,  is  tun'd  too  high 
For  any  theme  but  immortality. 

27  With  Waller  our  first  Dawn  of  Light  arose, 
1703  He  did  the  Beauties  of  the  Morn  disclose ; 

Then  Milton  came,  and  Cowley  blest  our  eyes ; 
With  joy  we  saw  the  distant  Glory  rise: 
But  there  remain'd  some  footsteps  of  the  \ight. 
Dark  Shadows  still  were  intermixed  with  Light : 
Those  Shades  the  mighty  Dryden  chas'd  away. 
And  show'd  the  Triumphs  of  refulgent  Day. 

28  Think  not  that  to  th'  ancient  Bards  I  am  alone  confin'd. 
1703  They  please,  but  never  shall  engross  my  mind; 

In  modern  Writers  I  can  Beauties  find. 
Phoebus  has  been  propitious  to  this  Isle, 
And  on  our  Poets  still  is  plcas'd  to  smile. 
Milton  was  warni'd  by  his  enliv'ning  Fire, 
Who  Denham,  Waller,  Cowley,  did  inspire, 
Roscommon  too,  whom  the  learn'd  World  admire. 

29  Scarcely  in  Marvel's  keen  remarks  we  find 
1703  Such  energy  of  Wit  and  Reason  join'd. 

Great  Milton's  Shade  with  pleasure  oft  look'd  down, 
A  Genius  to  applaud  so  like  his  own. 


''••Saml.  Wesley  (1662-1735).  An  Epistle  To  A  Friend  Concerning  Poetry. 
This  and  the  next  are  from  the  Eng.  Studicn,  40:182. 

^''Saml.  Say  (1676-1742).  An  Essay  on  Milton's  I'ersc.  Poems  on  Sev.  Occa- 
sions, 1745.    Elegy  the  Second. 

""W.       S."     An  Epistle   To  Mr.    W ,  Fellow  of   Trin.  Colt.  Cantab. 

A  New  Misc.  of  Original  Poems,  on  Sev.  Occasions,  London,  1701.    29-33. 

2'Lady  Mary  Chudleigh  (1656-1710).  To  Mr.  Dryden,  on  his  Excellent  Trans, 
of  Virgil  (1697).  Poems  on  Sev.  Occasions,  London,  1703.  25-28.  This  was 
probably  written  about  1697. 

="Same,  pp.  45-67. 


153]  POETICAL    TRIBUTES   TO    MILTON  61 

30  O  Melody,   the  same 
1706           That  kindled  Mantuan  fire,  and  rais'd  Maeonian  flame. 

Nor  are  these  sounds  to  British  bards  unknown. 
Or  sparingly  reveal'd  to  one  alone : 
Witness  sweet   Spenser's   lays : 
And  witness  that  immortal  song. 
As  Spenser  sweet,  as  Milton  strong, 
Which  humble  Bbyne  o'er  Tiber's  flood  could  raise, 
And  mighty  William  sing  with  well  proportioned  praise. 

31  Give  me  the  chariot  whose  diviner  wheels 
1706           Mark  their  own  route,  and  unconfin'd 

Bound  o'er  the  everlasting  hills. 

And  lose  the  clouds  below,  and  leave  the  stars  behind. 

Give  me  the  Muse  whose  generous  force. 

Impatient  of  the  reins, 

Pursues  an  unattempted  course. 

Breaks  all  the  critics  iron  chains,  > 

And  bears  to  Paradise  the  raptur'd  mind. 

There  Milton  dwells.     The  mortal  sung 

Themes  not  presum'd  by  mortal  tongue ; 

New  terrours,  or  new  glories  shine 

In  every  page,  and  flying  scenes  divine 

Surprise  the  wondering  sense,  and  draw  our  souls  along. 

Behold  his  Muse  sent  t'  explore 

The  unapparent  deep  where  waves  of  chaos  roar, 

And  realms  of  night  unknown  before. 

She  trac'd  a  glorious  path  unknown, 

Through  fields  of  heavenly  war,  and  seraphs  overthrown. 

Where  his  adventurous  genius  led : 

Sovereign,  she  fram'd  a  model  of  her  own. 

Nor  thanked  the  living  nor  the  dead. 

The  noble  hater  of  degenerate  rhyme 

Shook  off  the  chains,  and  built  his  verse  sublime, 

A  monument  too  high  for  coupled  sounds  to  climb. 

He  mourn'd  the  garden  lost  below ; 


^^Nahum  Tate  (1652-1715).  In  Memory  of  Joseph  Washington,  Esq.;  late  of 
the  Middle  Temple,  An  Elegy.  Poems  on  Affairs  of  State,  1703.  I.  223-225. 
Washington  died  about  1691,  near  which  time  this  was  probably  written.  Sparks, 
Life  of  G.  Wash.,  p.  500. 

3°Wm.  Congreve  (1670-1729).  Ode  (To  the  Queen).  Chalmers,  Eng.  Pts.. 
10 :302-303. 

'^Isaac  Watts  (1674-1748).  The  Adventurous  Muse.  Horae  Lyricae,  Book  II. 
Chalmers,  Eng.  Pts.,  13 :58. 


62  THE    MILTON    TRADITION  [154 

(Earth  is  the  scene  for  tuneful  woe) 

Now  bliss  beats  high  in  all  his  veins, 

Now  the  lost  Eden  he  regains, 

Keeps  his  own  air,  and  triumphs  in  unrival'd  strains. 

Immortal  bard !     Tints  thy  own  Raphael  sings, 

And  knows  no  rule  but  native  lire : 

All  Heaven  sits  silent,  while  to  his  sovereign  strings 

He  talks  unutterable  things. 

32  Philips,  by   Phoebus  and  his  Aldrich  taught, 

1707  Sings  with  that  heat  wherewith  his  Churchill   fought, 
Unfetter'd  in  great  Milton's  strain  he  writes, 

Like  Milton's  angels  whilst  his  hero  fights; 
Pursues  the  Bard,  whilst  he  with  honour  can. 
Equals  the  poet,  and  excels  the  man. 

33  Oh !  might  I  paint  him  in  Miltonian  verse, 

1708  With  strains  like  those  he  sung  on  Glo'ster's  hcrse ; 
But  with  the  meaner  tribe  I'm  forc'd  to  chime. 
And,  wanting  strength  to  rise,  descend  to  rhyme. 
Rail  on.  ye  triflers,  who  to  Will's  repair. 

For  new  lampoons,  fresh  cant,  or  modisli  air ; 
Rail  on  at  Milton's  son,  who,  wisest  bold, 
Rejects  new  phrases,  and  resumes  the  old. 
Beyond  his  praise  or  blame  thy  works  prevail. 
Complete  where  Dryden  and  thy  Milton  fail ; 
Great  Milton's  wing  on  lower  themes  subsides, 
And  Dryden  oft  in  rhyme  his  weakness  hides. 

34  Pomona  see  with   Milton's  grandeur  rise, 

1709  The  most  delicious  fruit  of  Paradise, 

Feb.  Witli  apples  might  the  lirst-born  man  deceive 

And  more  persuasive  voice  than  tempting  Eve, 
Not  to  confine  you  here. 

35  ,M1  Hell  resounds  thy  N'amc  with  loud  applause, 

1710  But  above  all,  the  Hot-brained  Atheist  Crew, 


'2Thos.  Tickell  (1686-1740).  Oxford.  A  Poem.  J.  Nichols.  A  Set.  Col.  of 
Pms.     J780.     5:42.     Chalmers,  Eng.  Pts.,  11:130-134. 

33Edm.  (N'eale)  Smith  (1668-1710).  A  Poem  To  The  Memory  of  Mr.  John 
Philipg.  Anderson,  Br.  Pts.,  6:616-618.  Lintol's  Misc.  Poems  and  Trans.  1712. 
Chalmers,  Eng.  Pts.,  9:204-206. 

^♦Wm.  King  (i66.vi7i-').  The  Art  of  Love:  in  Imitation  of  Ovid's  Pc  Arte 
Amandi.     Part  xiii.     Chalmers,  Eng.   Pts.,  9:279. 

"•Abel  Evans  (1679-1737).     The  Apf'arition.    A  Poem.     L.     1710. 


155J  POETICAL    TRIBUTES   TO    MILTON  63 

That  ever  Greece,  or  Rome,  or  Britain  l<new, 

Hobbes,  Milton,   Blount,   Vanini  with  him   join; 
All  equally  Admire  the  Vast  Design. 

36  When  Fancy  makes  unvulgar   Flight  her  aim, 

1711  Wing'd  with  this  vigorous,  clear,  seraphic  Flame, 
She  ranges  Nature's  universal  Frame ; 

Bright  Seeds  of  Thought  from  various  Objects  takes, 
Whence  her  fair  Scenes  and  Images  she  makes : 
Spirits  so  swift,  so  fine,  so  bold,  so  strong, 
Gave  Milton  Genius  fit  for  Milton's  song. 

27  What  though  majestic  Milton  stands  alone 

?c  Inimitably  great ! 

1712  Bow  low,  ye  bards,  at  his  exalted  tlirone. 
And  lay  your  labours  at  his  feet ; 

Capacious  soul  I  whose  boundless  thoughts  survey 

Heaven,  Hell,  earth,  sea ; 
Lo !  where  th'  embattled  gods  appear, 
The  mountains  from  their  seats  they  tear. 
And  shake  th'  empyreal  Heavens  with  impious  war. 

38  While  Milton's  soaring  fancy  flies, 

1712  And  sings  of  feuds  above  the  skies. 
Pub.  Dreadfully  fills  the  heavenly  plain, 

With  vanquished  powers,  cherubs  stain 
Surprized  and  trembling  from  afar, 
We  scarce  behold  th'  immortal  war : 
Their  fauchions  formidably  bright. 
Their  swords  composed  of  beaten  light; 
And  beamy  arms  with  dreadful  blaze 
From  each  contending  van  amaze : 
With   dread  we  view  th'  apostate  foe, 
Plung'd  in  the  deep  abyss  below. 

39  The  groves  of  Eden,  vanish'd  now  so  long, 

1713  Live  in  description  and  look  green   in  song: 
These,  were  my  breast  inspir'd  with  flame, 
Like  them  in  beauty,  should  be  like  in  fame. 


^^Richard  Blackmore  (d.  1729).  The  Nature  of  Man.  Edition,  London,  1720. 
p.  17. 

3^Wm.  Somerville  (1675-1742).  An  Imitation  of  Horace.  Book  iv.  Ode  ix. 
Chalmers,  Eng.  Pts.,  11:192.    And.,  Br.  Pts.,  8:294. 

^^Wm.  King  (1663-1712).  Bibliotheca:  A  Poem  Occasioned  by  the  Sight  of 
A  Modern  Library.    Nichols,  Sel.  Col.  of  Pms.,  3  :56. 

ssAlex.  Pope  (1688-1744)-     Windsor  Forest. 


64  THE    MILTON    TRADITION  [156 

40  The  Muse  with  transport  lov'd  him ;  j-et,  to  fill 
?c  His  Various  lot,  she  blended  good  with  ill; 
1714            Deprived  him  of  his  eyes,  but  did  impart 

The  heavenly  gift  of  song,  and  all  the  tuneful  art. 

41  Look  here,  ye  pedants,  who  deserve  that  name, 
1714  And  lewdly  ravish  the  great  critick's   fame. 

In  cloudless  beams  of  light  true  judgment  plays, 
How  mild  the  censure,  how  refined  the  praise ! 
Beauties  ye  pass,  and  blemishes  ye  cull. 
Profoundly  read,  and  eminently  dull. 
Though  Linnets  sing,  yet  Owls  feel  no  delight; 
For  they  the  best  can  judge,  who  best  can  write. 

O !  had  great  Milton  but  surviv'd  to  hear 
His  numbers  try'd  by  such  a  tuneful  ear; 
How  would  he  all  thy  just  remarks  commend ! 
The  more  the  Critic,  own  the  more  the  Friend. 
But,  did  he  know  once  your  immortal  strain, 
Th'  exalted  pleasure  would  increase  the  pain : 
He  would  not  blush  for  faults  he  rarely  knew, 
But  blush  for  glories  thus  excell'd  by  you. 

42  As  through  tlie  Psalms,  from  theme  to  theme  I  changed, 
1718  Methinks  like  Eve  in  Paradise  I  rang^'d; 

And  every  grace  of  song  I  seeni'd  to  see. 
As  the  gay  pride  of  every  season  she ; 
She,  gently  treading  all  the  walks  around, 
Admir'd  the  springing  beauties  of  the  ground, 
The  lily,  glistering  with  the  morning  dew. 
The  rose  in  red,  the  violet  in  blue. 
The  pink  in  pale,  the  bells  in  purple  rows. 
The  tulips  colour'd  in  a  thousand  shows : 
Then  here  and  tliere  perhaps  she  pulled  a  flower 
To  strew  with  moss,  and  paint  her  leafy  bower; 
And  here  and  there,  like  her  I  went  along, 
Chose  a  bright  strain,  and  bid  it  deck  my  song. 


^ojohn  Hughes  (1677-1720).  To  The  Memory  of  Milton,  .\nderson,  Br. 
Pts.,  7:314- 

^'Lawrence  Eusden  (1688-1730).  Verses  .  .  .  On  The  Sf'eclator's  Critique  on 
Milton.    Steele,  Ptl.  Misc.,  i^i.f.     196-197.     Nichols,  Sel.  Col.  of  Puis.,  1780.   4:157. 

■•-Thos.  Parnell  (1679-1718).  The  Gift  of  Poetry.  This  was  written  before 
1718,  but  published  in  London,  June,  1758.  G.  A.  Aitkcn,  Ptl.  U'ks.  of  Parnell, 
pp.  Ixviii,  4.    Chalmers,  Eng.  Pts.,  9:371-401.     First  lines  on  "Solomon." 


157]  POETICAL    TRIBUTES    TO    MILTON  65 

43  No  more  Majestic  Virgil's  Heights, 
B4  Nor  tow'ring  Milton's  lofty  Flights, 
1720  Nor  courtly  Horace's  rebukes, 

Who  banters  Vice  with  friendly  jokes. 

44  Free  from  the  thraldom  of  monastic  rhymes, 
?C  In  bright  progression  bless  succeeding  times ;     J 
1720            Milton  free  poesy  from  the  monkish  chain,         / 

And  Addison  that  Milton  shall  explain ; 
Point  out  the  beauties  of  each  living  page; 
Reform  the  taste  of  a  degen'rate  age ; 
Show  that  true  wit  disdains  all  little  art, 
And  can  at  once  engage,  and  mend  the  heart ; 
Knows  even  popular  applause  to  gain. 
Yet  not  malicious,  wanton,  or  profane. 

45"  First,  one  who  believ'd  he  excell'd  in  translation, 

1720  Founds  his  claim  on  the  doctrine  of  man's  transmigration : 
"Since  the  soul  of  great  Milton  was  given  to  me, 

I  hope  the  convention  will  quickly  agree." 

"Agreed,"  quoth  Apollo 

"Be  gone !  sir,  you've  got  your  subscriptions  in  time. 
And  given  in  return  neither  reason  nor  rhyme." 

46  In  what  new  region  to  the  just  assign'd, 

1721  What  new  employments  please  th'  unbodied  mind, 
A  winged  Virtue  through  th'  ethereal  sky. 

From  world  to  world  unwearied  does  he  fly? 

Does  he  delight  to  hear  bold  seraphs  tell 
How  Michael  battled,  and  the  Dragon   fell, 
Or,  mix'd  with  milder  cherubim  to  glow 
In  hymns  of  love,  not  ill  essay'd  below  ? 

47  Milton,  immortal  bard,  divinely  bright, 

172 —  Conducts  his  favorite  to  the  realms  of  light. 

Where  Raphael's  lyre  charms  the  celestial  throng. 
Delighted  cherubs  listening  to  the  song : 
From  bliss  to  bliss  the  happy  beings  rove, 
And  taste  the  sweets  of  music  and  of  love. 


<3Edw.  Littleton,  LL.D.  (  -1733).  To  Master  Henry  Archer  (at  Eton 
School).  Norfolk  Ptl.  Misc.,  i744.  2:73-;8.  Dodsley,  Co!.,  1782.  6:316.  Bell, 
Fug.  Poetry,  2:59. 

"Lady  Mary  W.  Montagu  (1689-1762).  The  Court  of  Dullness.  Letters  &■ 
Works,  1893.     II.,  471-4. 

■•^Pat.  Delany   (1685-1768).     NcK'sfroin  Parnassus.     Chalmers.   11:410. 

•*«Thos.  Tickell  (1686-1740).  On  The  Death  of  Addison.  C.  D.  Cleveland, 
Comp.  Eng.  Lit.,  Phila.,  1869.     423. 

^^Britannicus :  To  Dr.  Watts.  On  the  5th.  Ed.  of  Horae  Lyricac.  (4th  ed., 
1722.)     Chalmers,  Eng.  Pts.,  13:10. 


66  THE    MILTON    TRADITION  [158 

48  Back,  scribbler,  to  thy  Caledonian  plains, 

172 —  In  vain  thou'rt  sanctify'd  with  Milton's  name, 

Not  even  Homer  should  protect  thy  shame. 

49  Now  to  the  Muse's  soft  retirement  fly, 
1724  Or  soar  with  Milton 

Here  Spenser,  Cowley,  and  that  awful  name 
Of  mighty  Milton,  flourished  into  fame: 
From  these  amusing  groves,  his  copious  mind, 
The  blooming  shades  of  Paradise  designed. 

50  Here  Spenser's  thoughts  in  solemn  numbers  roll, 
172 —  Here  lofty  Milton  seems  to  lift  the  soul. 

51  To  move  the  springs  of  nature  as  we  please, 
1726?  To  think  with  spirit,  but  to  write  with  ease: 

With  living  words  to  warm  the  conscious  heart, 
Or  please  the  soul  with  nicer  charms  of  art. 
For  this  the  Grecian  soar'd  in  epic  strains. 
And  softer  Maro  left  the  Mantuan  plains: 
Melodious  .Spencer   felt  the  lover's  fire, 
And  awful  Milton  strung  his  Heav'nly  lyre. 

52  Rhyme  whose   bewitching  Siren   Song 
Has  luH'd  and  sooth'd  my  Sense  too  long : 
And   from  whose  silken  chains  set  free, 

I  hail  the  N'ynipli  sweet  Liberty. 

'Tis  Freedom  whispers  in  mine  Ear 
"Thy  rhyming  Toils  at  length  forbear. 
In  Milton's  Page  without  a  rhime 
Sec  how  the  bard  had  tower'd  sublime : 
While  Shakespeare,  above  Art's  control. 


<'Wm.  Pattison  (1706-1727).  To  Mr.  Mitchell.  Anderson,  Br.  Poets,  8:577. 
This  was  written  to  Joseph  Mitchell  (1684-1738),  "Sir  Robert  Walpole's  Poet," 
in  response  to  The  Sine  Cure.  A  Poetical  Petition  To  The  Right  Honourable 
Robert  Walfolc,  Esq.,  for  the  Government  of  Duck  Island  in  St.  .laincs's  Park. 
The  New  Foundling  Hospital  for  Wit.,  17S4.    6:231-235. 

**Same.    The  College  Life.    To  A  Friend.    Anderson,  Br.  Pts.,  8:555. 

""•Walter  Harte  (1709-1774).  To  A  Young  Lady,  with  Fenlon's  Miscellanies. 
Chalmers,  Eng.  Pts.,  10:423,  or  16:329. 

""Same.  To  Mr.  Pope.  Chalmers,  Eng.  Pts.,  12:136,  or  16:330.  Bell,  Fug. 
Poetry,  6:26.  Written  on  the  occasion  of  Pope's  Poems  being  printed  for  B. 
Lintot  (d.  1737),— i.  e.  1726  or  1736.  For  50  and  51,  see  Nichols,  Set.  Col.,  17S0. 
7 :302-3o8. 

'■•'Anonymous.  To  the  Hon.  Lieut.  Gen'l  Chohnondoley.  From  a  small  vol- 
ume of  Poems,  which  gives  no  information  as  to  authors  and  dates,  but  evidently 
early  in  the  century 


159]  POETICAL    TRIBUTES    TO    MILTON  67 

Can  freeze  the  Blood,  or  harrow  up  the  Soul. 
Bold  British  Bards,  who  re-assume 
The  free-born  Rights  of  Greece  and  Rome; 
While  slavish  France   in  jingling  Strain 
Drags  on,  yet  hugs  the  servile  Cliain." 

53  Is  not  each,  each  amiable  Muse 
1727  Of  classic  ages,  in  thy  Milton  met? 

A  genius  universal  as  his  theme ; 

Astonishing  as  chaos ;  as  the  bloom 

Of  blowing  Eden  fair ;  as  Heaven  sublime. 

54  Now,  Sir,  as  Romans  shar'd  with  Greeks  their  Fame, 

1729  So  should  with  Romans  Britons  share  the  same. 
Homer  and  Virgil  would  not  scorn  to  be 

Of  Milton's  and  of  Spencer's  company. 

55  Though  few  thy  faults,  who  can  perfection  boast? 

1730  Spots  in  the  Sun  are  in  his  lustre  lost : 

Yet  ev'n  those  spots  expunge  with  patient  care. 
Nor  fondly  the  minutest  error  spare. 

Read  Philips  much,  consider  Milton  more; 
But  from  their  dross  extract  the  purer  ore. 

56  Each  shallow  pate,  that  cannot  reach  your  name, 
1730  Can  read  your  life,  and  will  be  proud  to  blame. 

Flagitious  manners  makes  impressions  deep 
On  those  that  o'er  a  page  of  Milton  sleep. 

57  No  stranger,  sir !  though  born  in  foreign  climes ; 
1730  On  Dorset  downs,  when  Milton's  page 

With  Sin  and  Death,  provok'd  thy  rage. 

Thy  rage  provok'd,  who  soothed  with  gentle  rhymes? 

58  Verse   without   rhyme   I   never    could   endure,       | 
1733  Uncouth  in  numbers,  and  in  sense  obscure.  ( 


'^James  Thomson   (1700-1748).    Summer,  lines  1567-1571. 

^■'Anonymous.  An  Epistle  to  Lord  Viscount  Cobhani.  In  Memory  of  His 
Friend,  the  late  Mr.  Congrcvc.  Congreve  died  in  January,  1729.  This  Lord  Cob- 
ham  is  Sir  Richard  Temple  (1669-1740).  The  Altar  of  Love,  &c.  ...  By  the 
most  e})iinent  Hands.    3rd.  ed.,  London,  1731,  p.  23. 

^^Wm.  Somerville  (1675-1742).  Efistlc  to  Mr.  Thomson,  on  the  first  Edition 
of  his  Seasons.     Chalmers,  Eng.  Pts.,  II  :20i. 

^''Edw.  Young  (1683-1765).  Tzvo  Epistles  To  Mr.  Pope,  Concerning  The  Au- 
thors of  the  Age.    Chalmers,  Eng.  Pts.,  13  ■.516. 

="Same.    Sea-Piece.    Dedication  to  Voltaire.    Same,  13:519. 

53Jas.  Bramston  (1694-1744).  The  Man  Of  Taste.  Campbell,  Brit.  Pts.,  1819, 
5:165.     Dodsley,  Pnis.  by  Sev.  Hands,  vol.  I. 


68  THE    MILTON    TRADITION  [160 

To  him  as  nature,  when  he  ceas'd  to  see, 

Milton's  an  universal  blank   to  me. 

Confirm'd  and  settled  by  the  nation's  voice, 

Rhyme  is  the  poet's  pride,  and  people's  choice. 

Always  upheld  by  national  support 

Of  market,  university,  and  court. 

Thomson,  write  blank ;  but  know  that  for  that  reason, 

These  lines  shall  live  when  thine  are  out  of  season. 

Rhyme  binds   and   beautifies   the  poet's   lays, 

As   London   ladies   owe   their   shape   to   stays. 

59  Once  more,  ye  Muses,  to  your  sacred  hill 

1733  I  come  with  unassur'd  and  trembling  feet,  ^ 

Fearful  of  sharp  rebuke,  presuming  thus 
To  touch  the   strings  of   Milton's  hallowed  lyre. 

60  In  vain  philosophers  witli  warmth  contest, 
1/35  Life's  secret  shade,  or  open  walk  is  best: 

Each  has  its  separate  joys,  and  each  its  use : 
This  calls  the  patriot  fortli.  and  that  the  Muse. 

Where  high  ambition  still  the  power  confess'd 
That  rul'd  with  equal  sway  in  every  breast, 
Say  where  the  glories  of  the  sacred  Nine? 
Where  Homer's  verse  sublime,  or  Milton,  thine? 
Nor  thou,  sweet  Bard!  wlio  turn'dst  the  tuneful  art, 
"From  sound  to  sense,  from  fancy  to  the  heart," 
Thy  lays  instructive  to  the  world  hadst  giv'n, 
Nor  greatly  justify'd  the  laws   of  heav'n. 

6i  Here,  sacred  truths,  in  lofty  numbers  told, 

1736?  The  prospect  of  a  future  state  unfold; 

The  realms  of  niglit  to  mortal  view  display, 

And  the  glad  regions  of  eternal  day. 

This  daring  author  scorns  by  vulgar  ways 

Of  guilty  wit,  to  merit  worthless  praise. 

Full  of  her  glorious  theme,  his  towering  Muse, 

With   gen'rous   zeal,   a   nobler    fame   pursues : 

Religion's  Cause  her  ravish'd  heart  inspires, 

And  with  a  thousimd  briglit  ideas  fires; 

Transports  her  quick,  impatient,  piercing  eye, 

O'er  tlie  strait  limits  of  mortality, 

To  boundless  orbs,  and  bids  her  fearless  soar. 


""Anonymous.    Pri:c  Verses  No.  XI.    Gent.  Mag.,  Oct.,  1733,  3:541. 
""Wm.  Melmouth  (1710-1799).    Of  Active  and  Retired  Life.    Fol.  London,  1735. 
Bell,  Fug.  Poetry,  I  .g-io- 

"T.  Trislam.     To  A  Lady,  Kith  The  Last  Pay.     Chalmers.  Fng,  Pts.,  13:367. 


161]  POETICAL    TRIBUTES    TO    MILTON  69 

Where  only  Milton  gain'd  renown  before; 
Where  various  scenes  alternately  excite 
Atnazement,  pity,   terrour,   and   delight. 

62  Or  Bard,  sublime,   (if  Bard  may  e'er  be  so,) 

1736  As  Milton,  Shakespeare ;  Names  that  ne'er  shall  die ! 

63  When  nature  first  her  Milton's  soul  endu'd, 

1736  With  conscious  pride  the  wond'rous  work  she  view'd.  ' 

64  Milton's  strong  pinion  now  not  heaven  can  bound, 

1737  Now  serpent-like,  in  prose,  he  sweeps  the  ground. 
In  quibbles,  angels  and  arch-angels  join. 

And  God  the  Father  turns  a  school  divine. 

65  See,  when  the  magick  Arts  of  t'action  point, 
1739  The  blackest  Traitor  prove  the  Whitest  Saint ! 

Milton,  sage  Father  of  the  sacred  Throng, 
Varnish'd  Rebellion,  and  debas'd  his  Song, 
In  Heaven  he  seems  to  palliate  Satan's  Pride, 
On  Earth  to  triumph  when  the  Martyr  died ; 
Yet  shall  Brittania's  Sons  proclaim 
His  Pen  their  Glory,  tho'  his  Cause  their  shame ; 
Princes   shall   stretch   their   Bounty  to   His   Heirs, 
And  gracious  view  his  Tomb  approach  to  theirs. 

66  Soul  of  the  Muses!     Thou  Supreme  of  Verse! 

1740 

Feb.  Grant  me  at  least  thy  converse  now,  and  oft 

To   ruminate  thy  beauties  infinite. 

To  trace   thy  heavenly  notions,  to  enquire 

When   from  above  they   come,  and  how  convey'd : 

Thy  Hell, 

Copied  by  other  hand  whate'er  will  lose 
Its  terrors,  and  thy  Paradise  its  sweets, 


*=Wm.  Shenstone  (1714-I/63).  The  School-Mistress.  A  Poem  written  at 
College,  J736.     Stanza  xxiii. 

«3"G.  W."  To  A  Lady,  with  Paradise  Lost.    Gent.  Mag.,  Sept.,  1736,  6:544. 

'■*Alex.  Pope  (1688-1744).    Epistle  to  Augustus,  lines  99-102. 

"Anonymous.  Candour:  or.  An  Occasional  Essay  on  the  Abuse  of  Wit  and 
Eloquence.    London,  Watson,     1739. 

The  Editor,  in  his  Preface,  says,  "Milton,  Rochester,  Hobbs,  are  better  and  more 
impartially  characterized  by  the  Author,  than  they  have  yet  been  by  any  other 
writer :  he  points  out  their  Beauties  and  Blemishes  with  equal  Candour  and 
Judgment." 

^^Sneyd  Davies,  D.D.  (1709-1769).  Rha/>sody,  To  Milton.  It  has  87  lines. 
Nichols,  Sel.  Col.  of  Pins.    1/80.    6:121-124. 


70  THE    MILTOX    TRADITION  [162 

Soiled  by  rude  touch, — enough  then  to  admire. 
Silent  admire;  and  be  content  to  feel. 

6/  Adieu,  celestial  nymph,   adieu ! 

1741  Shakespeare  no  more,  thy  sylvan  son. 
Nor  all  the  art  of  Addison, 

Pope's  heaven  strung  lyre,  nor  Waller's  ease, 
Nor  Milton's  mighty  self  must  please. 

68  Milton,  whose  genius,  like  his  subject  high, 

1742  Gave  him  beyond  material  bounds  to  fly ! 
And  manl}'  Shakespeare,  whose  extensive  mind 
Could  fathom  all  the  passions  of  mankind. 

69  'Tis  'Virtue  only  can  the  bard   inspire, 

1743  And  fill  his  raptur'd  breast  with  lasting  lire: 
Touch'd  by  th'  ethereal  ray  each  kindled  line 
Beams  strong :  still  'Virtue  feeds  the  flame  divine ; 
Where  e'er  she  treads  she  leaves  her  footsteps  bright 
In  radiant  tracts  of  never-dying  light : 

These  shed  the  lustre  o'er  each  sacred  name. 
Give  Spencer's  clear,  and  Shakespeare's  noble  flame ; 
Blaze  to  the  skies  in  Milton's  ardent  song. 
And  kindle  the  brisk-sallying  fire  of  Young. 

70  Now  mark  the  strength  of  Milton's  sacred  lines, 
1743  Sense  rais'd  by  genius,  fancy  rul'd  by  art. 

Where  all  the  glory  of  the  Godhead  shines, 
And  earliest  innocence  enchants  the  heart. 

71  Apollo  of  old  on  Brittania  did  smile, 

1743? 

Then  Chaucer  and  Spenser  harmonious  were  heard. 
Then  Shakspere,  and  Milton,  and  Waller  appear'd. 


•'Sir  Wm.  Blackstone  (1723-1780).  The  La-iycr's  Farewell  To  His  Muse. 
Dodsley,  Col.,  vol.  iv.  Campbell,  Brit.  Pis.,  1819,  6,408-411.  Southey,  Speeinieiis, 
3:188-192. 

"sSaml.  Boyse  (1708-1749).  The  Triumph  of  Nature.  Gent.  Mag.,  June-Aug., 
1742,  12:324,  380,  435.     Chalmers,  Eng.  Pts.,  14:534-8. 

^°John  Brown  (1715-1766).  On  Honor.  To  the  Lord  I'iscouiit  Lonsdale, 
Anderson,  Br.  Pts.,  10:884-7.    Bell,  Fug.  Ptry.,  1:27-37- 

'ojas.  Hammond  (i7io?-i742).  Elcpy  A7F.  To  Delia.  Chalmers,  Eng.  Pts., 
II  :14s. 

"Sir  Chas.  Ilamliurg  (1708-1759').  To  Mrs.  Jiindon  at  Bath.  Bell,  Fug. 
Poetry,  6:i34-i35- 


163]  POETICAL    TRIBUTES   TO    MILTON  71 

72  With  Finger  tap'd  against  my  Nose, 
Before  I  measur'd  first  five  Feet  of  Prose; 
1744  This  was  blank  verse — so  far,  at  least, 

I've  gain'd  my  point — now  for  the  rest ; 

But  sure  this  Rhiming  might  be  spar'd, 

Bless'd  Milton  !  who  wou'd  never  own 

The  Fetters   under  which  I  groan : 

But  he,  Great  Bard!  with  Sense  profound. 

Makes  ev'ry  lofty  Page  abound, 

And  charms  with  something  more  than  Sound. 

We,  a  degen'rate   scribbling  Tribe, 

Are  forc'd  with  Sounds  the  ear  to  bribe ; 

And  Wit's  so  scarce  in  these  hard  Times, 

'Tis   cheaper   far  to   deal   in    Rhimes : 

With  jingling  Rhimes  together  ty'd, 

A  shameful  Dearth  of  Sense  we  hide. 

73  Now  in  Elysium  lap'd,  and  lovely  scenes, 

1744 

As  blissful  Eden  fair ;  the  morning  work 

Of  Heav'n  and  Milton's  theme !  where  Innocence 

Smil'd  and  improv'd  tlie  prospect. 

74  Last  came  a  bard  of  more  majestic  tread, 
1744            And  Thyrsis  bight  by  dryad,  fawn,  or  swain. 

Whene'er  he  mingled  with  the  shepherd  train ; 
But  seldom  that;  for  higher  thoughts  Iie  fed; 
For  him  full  oft  the  heav'nly  Muses  led 
To  clear  Euphrates,  and  the  secret  mount. 
To  Araby,  and  Eden,  fragrant  climes, 
All  which  the  sacred  bard  would  oft  recount : 
And  thus  in  strains,  unus'd  in  sylvan  shade, 
To  sad  Musaeus  rightful  homage  paid. 

75  But,  Morpheus,  on  thy  dewy  wing, 
174s  Such  fair  auspicious  visions  bring, 

As  sooth'd  great  Milton's  injur'd  age. 
When  in  prophetic  dreams  he  saw 
The  tribe  unborn  with  pious  awe 
Imbibe  each  virtue  from  his  heav'nly  page. 


'^Anonymous.  A  Poetical  Epistle  to  Daniel  IVr — y,  Esq.  Norfolk  Ptl.  Mis- 
cellany.    1744.     I  : 166-170. 

^^Wm.  Thompson  (1712-1766).  Sickness.  Written  in  1744,  published  in  1745. 
Book  iii.     Chalmers,  Eng.  Pts.,   IS  :46. 

'*Wm.  Mason  (1724-1797).  Musaeus:  A  Monody  To  the  Memory  of  Mr.  Pope. 
Chalmers,  Eng.  Pts..  18:323-325.     This  was  written  in  1744,  and  published  in  1747. 

^'Jas.  Scott  (1733-1814).  Ode  ix.  To  Sleep.  Odes  on  Sev.  Occasions.  Lon- 
don, 1745. 


72  THE    MILTON    TRADITION  [164 

76  Queen  of  my  song,  harmonious  Maid, 
174s  Ah  why  hast  thou  withdrawn  thy  aid? 

Say,  goddess,  can  the  festal  board, 

Or  young  Olympia's  form  ador"d ; 

Say,  can   the  pomp  of  promis'd   fame 

Relume  thy  faint,  thy  dying  flame? 

Or  have  melodious  I'.irs  tlie  p'nver 

To  give  one  free  poetic  hour? 

Or  from  amid  the  Elysian  train 

The  soul  of  Milton  shall  I  gain 

To  win  thee  back  with  some  celestial  strain ! 

0  mighty  mind !  O  sacred  flame  I 
My  spirit  kindles  at  his  name. 

77  Beyond  Creation's  utmost  bound 
Written      Whilst  Milton's  genius  took  its  flight, 
1745  The  Bard  in  his  arm-chair  was  found. 

Contented — even  with  loss  of  sight. 

78  The  sprightly  lark's  shrill  matin  wakes  the  morn; 
1745  Grief's  sharpest  tliorn  hard   pre.ssing  on  my  breast, 

1  strive,  with  wakeful  melody,  to  cheer 

The   sullen  gloom,  sweet  Philomel  !   like  thee. 

And  call  the  stars  to  listen ;  ev'ry  star 

Is  deaf  to  mine,  enamour'd  of  thy  lay, 

Yet  be  not  vain ;  there  are  who  thine  excel, 

And  charm  through  distant  ages.    Wrapt  in  shade, 

Pris'ner  of  darkness !  to  the  silent  hours 

How  often  I  repeat  their  rage  divine. 

To  lull  my  griefs,  and  steal  my  lieart  from  woe! 

I  roll  their  raptures,  but  not  catch  their  tire. 

Dark,  thous^h  not  blind,  like  tliee,  Maeonidcs! 

Or,  Milton,  tliee !  ah,  could  I  reach  your  strain  ! 

Or  his  who  made  Maeonides  our  own. 

Man,  too,  he  sung;  immortal  man  I   sing. 

79  But  let  the  sacred  genius  of  the  night 
1745  Such  mystic  vision  send,  as  Spenser  saw, 

or    Milton    knew, 


'"Mark  Akenside  (1721-1770).  Ode  .r.  To  The  Muse.  Chalmers,  Eng.  Pts., 
14:104. 

''Richard  Graves  (1715-1804).  The  Elbow-Chair.  Written  in  1745.  Euphrosyne: 
or,  Amuscnirnls  on  the  Road  of  Life.  2  vols.  London,  1776.  and  ed.,  1780,  vol.  I, 
68-71.     This  reference  has  a  foot-note  explaining  Milton's  manner  of  study. 

'"Edw.  Young  (1683-1765).     Niyhl  Thouiihls.     Night  T,  4,18-45,3. 

"Thomas  Warlon  (1728-1790).  The  Pleasures  of  .Melancholy.  Written  1745, 
published  17.17      Chaliiicrs,  Eng    Pts.,  18:95-97. 


165]  POETICAL    THIHUTES    TO    MILTON  73 

When  ill  abstract  thought  he  hrst  conceiv'd 
All  Heav'n  in  tumult,  and  the  seraphim 
Come  tow'ring,  arm'd  in  adamant  and  gold. 

80  What  lust  of  power  from  the  cold  North 

1746  Could  tempt  those  Vandal-robbers  forth, 
Fair  Italy,  thy  vine-clad  vales  to  waste ! 

They  weeping  Art  in  fetters  bound, 

And  gor'd  her  breast  with  many  a  wound, 

And  veil'd  her  charms  in  clouds  of  tliickest  night; 

Sad    Poesy,  much-injured   maid. 

They  drove  to  some  dim  convent's  shade. 

And  quenched  in  gloomy  mist  her  lamp's  resplendent  light. 

There  long  she  wept,  to  darkness  doom'd, 

'Till  Cosmo's  hand  her  light  relum'd, 

That  once  again  in  lofty  Tasso  shone ; 

Since  has  sweet  Spenser  caught  her  fire, 

She  breathed  once  more  in  Milton's  lyre. 

And  warm'd  the  sou!  divine  of   Shakespeare,  Fancy's  son. 

81  How  nearly  had  my  spirit  past, 

1746 

Where  Maro  and  Musaeus  sit 
List'ning   to   Milton's   loftier   song. 
With  sacred  silent  wonder   smit ; 
While,  monarch  of  the  tuneful  throng. 
Homer  in  rapture  throws  his  trumpet  down, 
And  to  the  Briton  gives  his  amaranthine  crown. 

82  Nor  an  holier  place  desire 

1747  Than  Timoleon's  arms  acquire. 

And  TuUy's  curule  chair,  and  Milton's  golden  lyre. 

83  Then  turn,  and  while  each  western  clime 
1747  Presents  her  tuneful  sons  to  Time. 

So  mark  thou  Milton's  name ; 
And  add,  "Thus  differs  from  the  throng 
The   spirit  which  informed  thy  awful  song, 
Which  bade   thy  potent  voice  protect  thy  country's    fame." 


'"Joseph  Warton  (1722-1800).  To  A  Gentleman  on  His  Travels  Through 
Italy.    Odes  on  Various  Subjects,  London.     1746. 

*'Same.     Odes,  \T\(>.    Ode  to  Health. 

'=Mark  Akenside  (1721-1770).     Ode  xvii.    On  A  Sermon  Against  Glory.    1747. 

^^Same.  Ode  xviii.  To  the  Right  Honorable  Francis  Earl  of  Huntingdon. 
1747.  For  both  odes,  see  Chalmers,  Eng.  Pts.,  14:108-109.  The  latter  alludes  to 
Milton's  "Defence  of  the  People  of  England."  Compare  his  own  introduction  to  his 
reply  to  Morus. 


74  THE    illl.TOX    TKADITIOX  [166 

S4  Frown  not,  ye  royal  shades,  that  Milton's  name 

1748  Among  your  sacred  tombs  a  place  does  claim, 

Great  Brunswick  reigns,  whose  throne's  on  freedom  raised, 

He,  like  Augustus,  can  hear  Catoes  praised. 

85  As  seated  pensive  in  mv  lonelv  bow'r, 
1748 "       .     '     . 

Three  venerable  forms  appcar'd,  and  spread 

An  awful  pleasing  vision  round  my  head. 

Somers,  a  champion  bold  in  Freedom's  cause, 

The  just  assertor  of  Brittania's  laws, 

From  heav'n  descended,  like  celestial  dews. 

To  glad  the  subject,  and  to  cheer  the  muse; 

Who  to  our  Milton's  great  remains  was  kind. 

When  to  tlie  poet's  worth  the  land  was  blind ; 

To  whom  alone  we  owe  what  Edcit  yields. 

That  vies  with  Temple  and  Elysian  fields ; 

In  spite  of  evil  tongues,  and  evil  times. 

He  sav'd  the  manly  and  majestic  rhymes  (=  numbers). 

86  The  Muse  at  Cam. — 

1748  "Here  will  I  rest,"  she  cry'd;  "my  laurel  here. 

Eternal  blooms ;  here  hangs  my  golden  lyre. 
Which  erst  my  Spenser  tun'd  to  shepherd's  ear, 
And  loftiest  Milton  smote  with  genuine  epic  fire." 

87  Had  unambitious  mortals  minded  nought, 
1748  But  in  loose  joy  their  time  to  wear  away. 

Great  Homer's  song  had  never  fir'd  tlic  breast 
To  thirst  of  glory,  and  heroic  deeds; 
Sweet  Maro's  muse,  sunk  in  inglorious  rest. 
Had  silent  slept  amid  the  Mincian  reeds; 

Our  Milton's  Eden  had  lain  wrapt  in  weeds, 

Our  Shakespeare  stroU'd  and  laugh'd  with  Warwick  swains. 


'♦Anonymous.  To  Be  Put  Under  Milton's  Tomb  in  U'estniinster  Abbey.  Gent. 
Mag.,  Mar.,  1748,  18:134. 

"•Anonymous.  The  Progress  of  Corruption.  A  Satire.  Gent.  Mag..  June,  1748. 
18:276.  The  other  two  were  Cowper,  "the  learned  and  the  good,"  and  "the  late 
Lamented  Talbot." 

""Bishop  Richard  Hurd  (1720-1808).  On  the  Peace  of  Ai.v  La  Chafelle.  1748. 
G.  Pcarcb,  Continuation,  1783,  2:279-282. 

"Jas.  Thomson  (1700-1748).  The  Castle  of  Indolence.  Canto  II,  stanzas 
SI  and  52. 


167]  POETICAL    TRIBUTES   TO    MILTON  75 

88  Should  some  strange  poet  in  his  piece  affect 

1748?  Pope's  nervous  style,  with  Gibber's  jokes  bedecked, 

Prink  Milton's  true  sublime  with  Cowley's  wit,  > 

And  garnish  Blackmore's  Job  with  Swift's  conceit, 
Would  you  not  laugh ! 

89  High  on  some  cliff,  to  Heaven  up-pil'd, 
1749?  Of  rude  access,  of  prospect  wild, 

Where,  tangled  round  the  jealous  steep, 

Strange  shades  o'erbrow  the  valley  deep, 

And   holy  genii  guard   the   rock. 

Its  glooms  embrown,  its  springs  unlock, 

While  on  its  rich  ambitious  head. 

An  Eden,  like  his  own,  lies  spread, 

I  view  that  oak,  the  fancied  glades  among. 

By  which  as  Milton  lay,  his  evening  ear. 

From  many  a  cloud  that  dropp'd  ethereal  dew, 

\igh  spher'd  in  Heaven  its  native  strains  could  hear! 

On  which  that  antient  trump  he   reach'd  was  hung ; 

Thither   oft   his   glory   greeting, 

From  Waller's  myrtle  shades  retreating, 

With  many  a  vow  from  Hope's  aspiring  tongue. 

My  trembling  feet  his  guiding  steps  pursue ; 

In  vain — Such  bliss  to  one  alone, 

Of  all  the  sons  of  soul  was  known. 

And  Heaven,  the  Fancy,  kindred  powers. 

Have  now  o'erturn'd  th'  inspiring  bnwers, 

Or  curtain'd  close  such  scene  from  every  future  view. 

90  Let  Granta   boast   the   patrons   of   her   name. 

1749 

Still   let    her    senates   titled    slaves    revere, 
Nor  dare  to  know  the  patriot  from  the  peer ; 
No  longer  charm'd  Virtue's  lofty  song. 
Once  heard   sage  Milton's  manly  tones  among. 
Where  Cam,  meandering  thro'  the  matted  reeds, 
With  loitering  wave  his  groves  of  laurel  feeds. 


ssRobert    Dodsley    (1703-1764).      The    Art    of    Preaching.      In    Imitation    of 
Horace's  Art  of  Poetry.    Anderson,  Br.  Poets,  11:98-102. 

s!>Wm.  Collins   (1721-1759).     Ode  On  The  Poetical  Character.     Branson's  Ed. 
Ath.  Press  Srs.,  pp.  41-43.    Chalmers,  Eng.  Pts.,  13:199. 

One  feels  the  first  line  here,  and  especially  of  Hayley  (No.  171,  below),  to  be 
an  echo  of  Milton  lines  {Para.  Lost,  II,  SS/fif)  : 
Others  apart  sat  on  a  hill  retired, 
In  thoughts  more  elevate,  and  reasoned  high 

Of  Providence 

«°Thos.   Warton    (1728-1790).     The   Triumph   of  Isis.     Chalmers,   Eng.   Poets, 

18:89-91- 


76  THE    MILTON    TRADITION  [168 

91  An  academic  leisure  here  I  find 

1749  With  learning's  love  to  discipline  mj'  youth ; 

By  Virtue's  wholesome  rule  to  form  my  mind, 

To  seek  and  love  the  wise  man's  treasure,  truth. 

Oft  to  thy  hallow'd  sons  enthroned  hie, 

O  peerless  poesie ! 

Sounding  great  tlioughts  my  raptur'd  mind  delight; 

He  first,  the  glorious  child  of  libertie. 

Maeonian  Milton,  beaming  heavenly  bright. 

92  With  Nature's  Shakespeare  rove 
1750?           Thro'  all  the  fairy  regions,  or  oft  fly 

With   Milton,   boundless,   thro'   ethereal   worlds. 

93  Ye  patriot  crowds,  who  burn   for  England's   fame, 

1750  Ye  nymphs,  whose  bosoms  beat  at  Milton's  name, 
Apr.  5       Whose  generous  zeal,  unbought  by  flattering  rhymes, 

Shames  the  mean  pensions  of  .Augustan  times  ! 
Immortal  patrons  of  succeeding  days. 
Attend  this  prelude  of  perpetual  praise; 
Let  Wit  condemn'd  the  feeble  war  to  wage 
With  close  Malevolence,  or  Public  Rage ; 
Let  Study,  worn  with  virtue's  fruitless  lore. 
Behold  this  theatre,  and  grieve  no  more. 
This  night,  distinguished  by  your  smiles,  shall  tell 
That  never  Briton  can  in  vain  excell : 
The  slightest  arts   futurity   shall   trust. 
And  rising  ages  hasten  to  be  just. 
At  length  our  mighty  bard's  victorious  lays 
Fill  the  loud  voice  of  universal  praise; 

And  baffled  Spite,  with  hopeless  anguish  dumb.  ' 

Yields  to  Renown  the  centuries  to  come ; 
With  ardent  haste  each  candidate  of  fame. 
Ambitious,  catches  at  his  towering  name ; 
He  sees,  and  pitying  sees,  vain  wealth  bestow 
Those  pageant  honours  which  he  scorn'd  below. 
While  crowds  aloft  the  laureate  bust  behold, 
.  Or  trace  his  form  on  circulating  gold. 
Unknown — unheeded,   long   his   offspring   lay, 


"Rev.  Robert  Potter  (1721-1804).  A  FamveU  Hyinnc  to  the  Country.  Stanza 
xiii.     Bell,  Fug.  Poetry,  11:105-119. 

•-Robert  Shields  (d.  1753).  The  Power  of  licouly.  C.  Pearch,  Continuation, 
1:194-212.    Shields  wrote  this  poem  on  Johnson's  Irene,  probably  about  1750. 

"•''Saml.  Johnson  (1709-1784).  Prologue  to  Coinus.  This  was  spoken  by  David 
Garrick,  April  5,  1750,  when  Coinus  was  acted  for  the  benefit  of  Milton's  Grand- 
daughter, Mrs.  Elizabeth  Foster.    For  an  account  of  this  event  see  Appendix  J. 


169]  POETICAL    TRIBUTES   TO    MILTON  77 

And  Want  hung  threatening  o'er  her  slow  decay. 
What  though   she  shine  with  no  Miltonian  fire, 
No  favouring  Muse  her  morning  dreams  inspire? 
Yet  softer  claims  the  melting  heart  engage, 
Her  youth  laborious,  and  her  blameless  age ; 
Hers  the  mild  merits  of  domestic  life. 
The  patient  sufferer,  and  the  faithful  wife. 
Thus  graced  with  humble  Virtue's  native  charms, 
Her  grandsire  leaves  her  in  Brittania's  arms. 
Secure  with  peace,  with  competence  to  dwell, 
While  tutelary  nations  guard  her  cell. 
Yours  is  the  charge,  ye  fair!  ye  wise!  ye  brave  I 
Tis  yours  to  crown  desert — beyond  the  grave. 

94  Oft  Phoebus  self  left  his  divine  abode, 

17SI  And  here  enshrouded  in  a   shady  bow'r. 

Regardless  of  his  state  lay'd  by  the  God, 

And   own'd   sweet   Music's   more   alluring  pow'r. 

On  either  side  was  placed  a  peerless  wight. 

Whose  merit  long  had  fiU'd  the  trump  of  Fame; 

This,  Fancy's  darling  child,  was  Shakespeare  bight. 

Who  pip'd  full  pleasing  on  the  banks  of  Tame; 

That,  no  less  fam'd  than  He,  and  Milton  was  his  name. 

Now  Spenser  'gan. 
Of  jousts  and  tournaments,  and  champions  strong ; 
Now   Milton    sung    of   disobedient   Man, 
And  Eden  lost :  the  bards  around  them  strong. 
Drawn  by  the  wond'rous  magic  of  their  princes'  song. 

At  length,  on  blest  Parnassus  seated  high, 
Their  temple  circled  with  a  laurel  crown, 
Spenser  and  Milton  met  her  scowling  eye, 
And  turn'd  her  horrid  grin  into  a  frown. 


See  Phoebus'  self  two  happy  bards  atween ; 

See  how  the  god  their  song  attentive  hears; 

This  Spenser  bight,  that  Milton,  well  I  ween ! 

Who  can  behold  unmov'd  like  heart-tormenting  scene? 

95  Some  Village-Hampden  that  with  dauntless  Breast 

1751  The  little  Tyrant  of  his  Fields  withstood; 


'^Robert  Lloyd  (1733-1764).  The  Progress  of  Envy.  The  Ptl.  Wks.,  2  vols., 
1774,  1:132-146.    Chalmers,  Eng.  Pts.,  15:94-97. 

'^Thos.  Gray  (1716-1771).  The  Elegy.  The  proper  najjies  in  these  lines 
originally  read  "Cato,"  "Tully,"  and  "Caesar."  The  change  is  due  to  changing 
national  feelings. 


78  THE    MILTOX    TRADITION  [170 

Some  mute,  inglorious  Milton  here  may  rest, 
Some  Cromwell  guiltless  of  his  country's  Blood. 

96  Fairest  flower,  all  flowers  excelling, 
1751?  Which  in  Milton's  page  we  see; 

Flowers  of  Eve's  embower'd  dwelling 
Are,  my  fair  one,  types  of  thee. 

97  .\n<I  let  tliy  pious  strain 
I7SI           Tell 

How  Milton  scorn'd  the  sophist  vain. 
Who  durst  approach  his  hallow'd  strain 
With  unwasli'd  hands  and  life  profane. 

98  Ere  yet  I  sing  the  round-revolving  year, 

1751  And  show  the  toils  and  pastime  of  the  swain. 
At  .Alcon's  grave  I  drop  a  pious  tear ; 

Right  well  he  knew  to  raise  his  learned  strain, 
.'Vnd,  like  his  Milton,  scorn'd  the  rhyming  chain. 
Ah !  cruel  fate,  to  tear  him  from  our  eyes ; 
Receive  this  wreath,  albe  the  tribute's  vain. 
From  the  green  sod  may  flowers  inunortal  rise. 
To  mark  tlie  sacred  spot  where  the  sweet  poet  lies. 

99  Tho'  Milton's  brows  with  bays  we  twine, 
-And  style  him  wonderful!  divine! 

Th'  immortal,  and  tlie  bard  ! 
Yet  Pope,  with  ev'ry  grace  replete. 
In   sense,   and   harmony  complete, 
Still  claims  our  just  regard. 

100  Milton,  bard  divine, 

1752  Whose  greatness  who  shall  imitate? 

101  l^>ut  not  to  one  in  this  benighted  age 
1752            Is  that  diviner  inspiration  giv'n. 


""Nath.  Cotton  (1705-1788).  To  A  Child  of  fhc  Years  Old.  Various  Pieces 
III  Verse  and  Prose,  2  vols.,  1791,  1:71.    Also  Chalmers,  Eng.  Poets,  18:20. 

"'Mark  Akenside  (1721-1770).  Bk.  II.,  Ode  x.  To  Thomas  Edwards,  Esq. 
On  the  Late  Ed.  of  Mr.  Pope's  Works.  Chalmers,  Eng.  Poets,  14:115.  Cr.  Rev.. 
May,  1766,  21 :389-39i. 

"'Moses  Mendes  (  -1758).  The  Seasons.  Stanza  i.  Bell,  Fug.  Poetry,  n  : 
63-78.  G.  Pearch,  Continuation,  2:217-230.  The  allusion  here  is  to  Jas.  Thomson, 
buried  at  Alcon. 

""Anonymous.  Imitation  of  Ode  i.r,  Bk.  iz\  of  Horace.  Nichols,  New  Found- 
liny  Hospital  for  Wit.,  5:46-50. 

'""Christopher  Smart  (1722-1771).  Tlie  Hop-Garden,  Bh.  I.  Poems,  i~oi, 
1:152.    Chalmers,  Eng.  Poets,  16:38. 

'"'Thos.  Gray  (1716-1771).    Stanzas  To  Mr.  Rich.  Bcutley. 


171]  POETICAL    TRIBUTES   TO   MILTON  79 

That  burns  in  Shakespeare's  or  in  Milton's  page, 
The  pomp  and  prodigality  of  heav'n. 

102  Should  the  weak  things  this  truth  discover, 
1753            How  few  coquettes  would  keep  a  lover; 

And  yet,  so  plain  (though  blind  you  know) 
Milton  could  see  it  years  ago. 

103  Oft  too  with  Spenser  let  me  tread 
1753  The  fairy  field  where  Una  strays ; 

Or  loll  in  Pleasure's  flow'ry  bed, 

Or  burst  to  heav'n  in  Milton's  higli-wrought  lays ; 

Or  on  Ariel's  Airy  wing, 

Let  me  chase  the  young-eyed  spring. 

104  His   frailties  are  to  ev'ry  gossip  known  : 
1753  Yet  Milton's  pedantries  not  shock  the  town. 

H  solid  merit  others  pine  unknown; 

Sunk  in  dead  night  the  giant  Milton  lay, 
'Till  Sommers'  hand  produc'd  him  to  the  day. 

Judge   for   yourself 

The  lords  who  starved  old   Ben  were  learnedly  fond 

Of  Chaucer 

Their  sons,  whose  ears  bold  Milton  could  not  seize, 

Would  laugh  o'er  Ben 

Their  spawn,  the  pride  of  this  sublimer  age. 
Feel  to  the  toes  and  horns  grave  Milton's  rage. 
Though  lived  he  now  he  might  appeal  with  scorn 
To  lords,  knights,  'squires,  and  doctors,  yet  unborn; 
Or  justly  mad,  to  IMoloch's  burning  fane 
Devote  the  choicest  children  of  his  brain. 

105  But,  ah,  how  void  yon  peasant's  mind ! 

I7S3  In  vain  to  him  is  Maro's  strain. 

And  Shakespeare's  magic  powers  in  vain. 
In  vain  is  Milton's  fire. 


^''-Miss  Courtney.     To  Miss  Anne  Conolly.     Bell,  Fugitive  Poetry,  i  :33-34. 

'"^John  Ogilvie  (1733-1813).  The  Day  of  Judgment,  with  (six  other  Odes, 
&c.).  Ode  on  Sleep,  stanza  5.  Poems  on  Several  Subjects,  1769,  2  vols.,  1 195. 
Mo.  Rev.,  Dec,  1759,  21 :467-469. 

'"^John  Armstrong,  M.D.  (1709-79).  Taste.  An  Epistle  to  A  Young  Critic, 
1753-    Chalmers,  Eng.  Poets,  16:538-540. 

io5\Vm.  J.  Mickle  (1735-1788).  Knozvledge.  An  Ode.  Pearch,  Continuation, 
1783,  3:21-29,  p.  23. 


80  THE    MILTON    TRADITION  [172 

106  The  verse  adorn  again 

1/55  Fierce  War,  and  faithful  Love, 

And  Truth  severe,  by  fairy  Fiction  drest. 

In  buskin'd  measures  move 

Pale  Grief  and  pleasing  Pain, 

With  Horror.  Tyrant  of  the  throbbing  breast. 

A  Voice  as  of  the  Cherub  Clioir. 

Gales  from  blooming  Eden  bear ; 

And  distant  warblings  lessen  on  my  ear. 

That  lost  in  long  futurity  expire. 

107  Let  them  rally  their  heroes,  send  forth  all  their  powers, 

1/55  Their  verse-men,  and  prose-men;  then  match  them  with  ours; 

First  Shakspear  and  Milton,  like  gods  in  the  fight. 
Have  put  their  vi-hole  drama  and  epic  to  flight. 

And  Johnson,  well-arm'd  like  a   hero  of  yore. 
Has  beat  forty  French,  and  will  beat  forty  more. 

108  This,  Milton  for  his  plan  will  choose : 
1/55  Wherein  resembling  Milton's  Muse? 

Milton,  like  thunder,  rolls  along 

In  all  the  majesty  of  song: 

While  his  low  mimics  meanly  creep, 

Nor  quite  awake,  nor  quite  asleep ; 

Or,  if  their  thunder  chance  to  roll, 

'Tis  thunder  of  the  mustard  bowl. 

The  stiff  expression,  phrases  strange, 

The  epithet's  preposterous  change, 

Forced  numbers,  rough   and  unpolitc, 

Such  as  tlie  Judging  ear  aff'right, 

Stop  in  mid  verse,  ye  mimics  vile ! 

Is  't  thus  ye  copy  Milton's  style? 

His  faults  religiously  you  trace, 

But  borrow  not  a  single  grace. 

How  few,   (say,  whence  can  it  proceed?) 

Who  copy  Milton,  e'er  succeed ! 

But  all  their  labours  are  in  vain: 

And  wherefore  so?    The  reason's  plain. 

Take  it  for  granted,  'tis  by  those 


'""Thos.  Gray  (1716-1771).  The  Bard.  The  :illusions  are  to  Spenser,  Shake- 
speare, Milton,  and  succeeding  poets, 

""'David  Garrick  (1717-1779).  Efiigrniii  on  Joluisou's  Dictionary  and  the 
French  Academy.    Pll.  IVks.,  2  vol.,  1785,  2:506.     Anderson,  Br.  Poets,  11:799- 

'""Robert  Lloyd.  To  .  .  .  About  To  Publish  A  Volume  of  Miscellanies,  1755- 
PtI.  IVks..  1/71,  1:105-6.     Chalmers,  Eng.  Poets,  15:90-91. 


173]  POETICAL    TRIBUTES   TO   MILTON  81 

Milton's  the  model  mostly  chose, 

Who  can't  write  verse,  and  won't  write  prose. 

109  Genius  of  Milton,  wake ! 

175s  In  all  thy  native  majesty  appear, 

Sublime,  concise,  and  clear, 

As  when  thy  strains,  heav'n's  battlements  did  shake. 

Or,  as  when  o'er  the  urn 

Of  Lycidas,  thou  pourdst  the  plaintive  song, 

Or,  come  like  Mirth,  with  airy  train. 

lio  Rise,  hallow'd  Milton !  rise,  and  say, 

2.  ed.  How,  at  thy  gloomy  close  of  Day ; 

1756  How,  when  "deprest  of  age,  beset  with  wrongs;" 

How,  "fall'n  on  evil  days  and  evil  tongues;" 

When  darkness,  brooding  on  thy  sight, 

Exiled  the  sov'reign  lamp  of  light ; 

Say,  what  could  then  one  chearing  hope  diffuse? 

111  The  proverb  still  sticks  closely  by  us, 
1756  -Vi'  dictum,  quod  non  dictum  prius. 

The  only  comfort  that  I  know 
Is,  that  't  wras  said  an  age  ago, 
Ere  Milton  soar'd  in  thought  sublime, 
Ere  Pope  refin'd  the  chink  of  rhyme. 

112  Th'  immortal  Bard, 
1756           Who  sightless  sung,  in  never  dying  strains. 

Revolted  Angels,  and  fair  Eden's  loss. 
In  vain  would  strike  his  Epic  lyre,  to  raise 
Th'  inactive  spirit  of  this  drowsy  isle. 
To  that  unconquerable  height,  to  which 
Our  venerable  ancestry  aspired. 

113  How  sweet  with  her,  in  wisdom's  calm  recess, 
1756?  To  brighten  soft  desire  with  wit  refined? 

Kind  Nature's  laws  with  sacred  Ashly  trace. 
And  view  the  fairest  features  of  the  mind  ! 


'"^H.  Kiddell.  The  Genius  of  Milton.  An  Invocation.  Gent.  Mag.,  Nov.. 
1755.  25:518. 

iio\Yjn  Mason  (1724-1797).  To  Memory.  Odes,  2nd.  ed.,  1756.  "Well  imag- 
ined .  .  .  tho'  too  long."    Cr.  Rev.,  Apr.,  1756,  i  :2o8-2i4. 

^Robert  Lloyd.  An  Epistle  To  Mr.  Cohnan,  7756.  Ptl.  IVks.,  1774,  I  1165-170. 
Chalmers,  Eng.  Pts.,  15 -.102-103. 

'i-Joseph  Reed  (1723-1790).  A  British  Philippic.  Mo.  Rev.,  July,  1756,  15: 
85-86. 

"^Thos.  Blacklock  (1721-1791).  The  JVish:  An  Elegy.  Poems,  2.  ed.,  1769. 
Chalmers,  18:202.     Bell,  Eng.  Poetry,  8:122.     Pearch,  2:194. 


82  THE    illLTON    TRADITION  [174 

Or  borne  on  Milton's  flight,  as  Heaven  sublime, 
View  its  full  blaze  in  open  prospect  glow ; 
Bless  the  first  pair  in  Eden's  happy  clime, 
Or  drop  the  human  tear  for  endless  woe. 

114  Fancy  dreams. 
1757            Rapt  into  high  discourse  with  prophets  old. 

And  wandering  through  Elysium,  Fancy  dreams 
Of  sacred  fountains,  of  o'ershadowing  groves, 
Whose  walks  with  god-like  harmony  resound : 
Fountains,  which  Homer  visits :  happy  groves. 
Where  Milton  dwells :  the  intellectual  power. 
On  the  mind's  throne,  suspends  his  graver  cares. 
And  smiles :  the  passions,  to  divine  repose. 
Persuaded  yield :  and  love  and  joy  alone 
Are  waking;  love  and  joy,  sucli  as  wait 
An  angel's  meditation. 

115  Thus  form'd,  our  Edwards.  Henrys,  Churchills.  Blakes. 
1757  Our  Lockes,  our  Newtons,  and  our  Millons,  rose. 

What  other  Paradise  adorn  but  thine, 
Britannia? 

116  Though  foremost  in  the  lists  of  fame 
1757  We  matchless   Milton  place. 

Yet  long  will   Pope's  distinguished  name 
The   Muse's   annals  grace. 

117  Fool  that  I  was!     My  Milton  lost! 
1757  Old  Homer's  youngest  son  ! 

Luss !  be  forever  sunk  beneath 
Ben's  horrors  pil'd  around. 

Sun's  'livening  ray  ne'er  pierce  thy  gloom. 
Thy  hideous  deep  be  drain'd. 
Fishes  to  devilish  snakes  be  turn'd: 
Boat-man  to  Cerebus. 


"*Mark  Akenside.  The  Pleasures  of  the  hnaniiuitioii.  Rk.  I.,  lines  161-173. 
Chalmers,  F.ng,  Pts.,   14:80-97. 

'■'■■John  Dyer  (1700-1758).     The  Fleeee.  Hk.  1.     Chalmers,  13:228. 

""J.  Duncombe.  Ode  to  the  Rl.  Hon.  John  Earl  of  Corkc.  See  Cr.  Rev., 
Oct.,  1767,  24:266-275. 

"'Robert  Colvill  {  -1788).  Upon  Losing  Milton's  Paradise  Lost,  al  Luss. 
situated  upon  Lnrh  Lomond  at  the  foot  of  Ben  Loivnwn,  and  a  (]ronl>  of  other 
vast  Mountains:  an  Ode.    See  Mo.  Rev.,  March,  1758,  18:277-278. 


175]  POETICAL    TRIBUTES   TO    MILTON  83 

Mouth  of  the  hellisli  gulf  be  thou: 
Its  mortal  damp  thy  air. 
All  o'er  thy  plains  Volcanos  thick 
Their  burning  sands  disgorge. 

Birds  never  warble  chearful  note; 
Nor  roam  the  humming  bee. 
Herds  never  graze,  nor  sheep,  nor  goats ; 
Nor  human  voice  be  heard. 

Crags  other  echo  ne'er  repeat 
Than  dismal  Furies  yell. 
Mercury  laughed,  and  jeering  cried, 
"I   Milton  from  thee  filch'd." 

So  did  .Xpollo  bid :  and  see ! 
For  thee  a  laurel  holds. 

ii8  He  looks  the  guardian  genius  of  the  grove. 

1758  Mild  as  the  fabled  form  that  whilom  deign'd, 
At  Milton's  call,  in  Harelield's  haunts  to  rove. 

Blest  spirit,  come !  the'  pent  in  mortal  mold, 
I'll  yet  invoke  thee  by  that  purer  name. 
Oh  come,  a  portion  of  thy  bliss  unfold, 
From  folly's  maze  my  wayward  step  restrain. 

119  Who  reads  Lost  Paradise  all  knowledge  gains, 

1759  That  book  of  Milton  ev'ry  thing  contains, 

120  Say,  can  these  untaught  airs  acceptance  find 

1760  Where  Milton,  wond'rous  bard!  divinely  sung? 
Or  yield  a  taste  of  pleasure  to  the  mind 

That  raptur'd  soars  with  Hervey  or  with  Young' 

121  Ode   To   The  Muses.     ( Not   found,  but  see  the 
1760  note  below.) 


"*Wm.  Mason  (1724-1797).  Elegy  II.  Written  in  the  Garden  of  a  Friend, 
175S.    Chalmers,  18:335-336. 

"^Thos.  Marriott.  Female  Conduct:  being  an  Essay  on  The  Art  of  Pleasing. 
The  above  lines  are  a  part  of  his  advice  to  his  fair  pupils  to  read  the  best  poets, 
particularly  Shakespeare  and  Milton.  The  Critic  makes  some  objection  to  the 
matter  of  fact  in  these  lines.     Mo.  Rev.,  Feb.,  1759,  20:135-141. 

'-"Theodosia  (Anne  Steele).  To  Lysander.  Poems  on  Subjects  Chiefly  Devo- 
tional, 1760,  re-issued  1780.     Mo.  Rev.,  April,  1760,  22:321-324. 

•^iMichael  Wodhull  (1740-1816).  Ode  To  The  Muses.  4to.  Payne  &•  Crop- 
ley.  There  is  said  to  be  "considerable  poetic  merit  in  these  lines,  which  reflect 
credit  on  the  taste  of  the  bard,  and  on  the  memory  of  the  most  amiable  of  the 
British  poets."  (Cr.  Rev.,  Sept.,  1760,  10:246-8.)  The  poet  associates  Milton  with 
Homer  and  Virgil.     (Mo.  Rev.  Appdx.,   1760,  23:525-526.) 


84  THE    JIILTON    TRADITION  [176 

122  Lo!  this  the  land,  whence  Milton's  ^luse  of  fire, 

1761  High  soar'd  to  steal  from  Heaven  a  seraph's  lyre; 
And  told  the  golden  ties  of  wedded  love 

In  sacred  Eden's  amaranthine  grove. 

123  "Here  Contemplation  holds  lier  still  abode. 
176 —  Here  oft  my  Milton  in  the  midnight  gloom, 

Has  caught  the  lofty  sentiment  rehn'd. 

Here  oft  songlit   Science  in  her  cloister'd  dome, 

Hence  fiU'd  the  mighty  volume  of  his  mind. 

Here  learnt  above  tlic  duller  sons  of  earth, 
In  all  tlie  dignity  of  thought  to  rise, 
Here  plann'd  the  work,  tliat  told  creation's  birth, 
Hence  gain'd  his  native  palace  in  the  skies. 

But  rais'd  to  join  the  aerial  choir  on  Iii.ijh, 
That  chaunt  harmonious  at  the  Almighty's  throne, 
Mov'd  at  the  pensive  world's  complaintive  sigh, 
I  to  direct  them  sent  this  second  son." 

When  leading  in  her  hand  a  reverend  sage. 
Her  heavenly  accents  thus  my  ears  addrest : 
"Receive  the  instructor  of  a  darken'd  age. 
Religion's  friend,  and  piety's  high-priest."' 

She  ceas'd,  and  to  my  fancy's  longing  sight. 
No  more  was  given,  the  glorious  form  to  see, 
She  fled  along  the  tliick'ning  sliades  of  night. 
And  left  the  world  to  Darkness,  Young,  and  nie. 

124  Sonic  hate  all  rhyme ;  some  seriously  deplore 

1762  That   Milton   wants  that  one  encliantmcnt   more. 

125  But  oft  when  Midnight's  sadly  solemn  kncll 

1762  Sounds  long  and  distant  from  the  sky-topt  tower ; 


'=-Thos.  Warton  (1728-1790).  On  The  Marrnigc  of  the  Kiiip.  'lo  Her 
Majesty.  Chalmers,  Eng.  Pts.,  18:92-93.  The  Critical  Kevieiv  selects  this  passage 
for  publication  (Jan..  1762,  13:28).  Here  is  a  specific  connection  between  Paradise 
Lost  and  occasional  poetry,  that  praises  Milton's  ability  to  celebrate  an  event. 

'^'Stephen  Panting,  of  Wellington,  in  Shropshire,  l^our  Elegies:  Morning, 
Noon,  Evening,  Night.     Mo.  Rev.,  Feb.,  1762,  26:152-3. 

Penseroso  like,  he  woos  Contemplation  in  the  solitary  night,  and  has  the 
above  answer.  It  is  interesting  to  note  how  Paradise  Lost,  the  Night  Thonghis, 
and  Gray's  Elegy  come  here  together. 

'•-■*Wm.  Whitehead  (1715-1785).  A  Charge  To  The  Poets.  Chalmers,  l"ng. 
Poets,  17:231-2,^4. 

''"John  Ogilvie  (1733-1813).  Ode  on  Melancholy.  Poems  on  .Ser.  .Siibjcils. 
1769,  1:74,    Cr.  Rev.,  Oct.,  1762,  14:293-301. 


177]  POETICAL    TRIBUTES    TO    MILTON  85 

Calm  let  nic  sit  in  Prospero's  lonely  cell, 
Or  walk  with  Milton  thro'  the  dark  Obscure. 

126  And  thou,  sweet  queen, 
1762            That  nightly  wrapt  thy  Milton's  liallow'd  ear 

In  the  soft  ecstacies  of  Lydian  airs ; 
That  since  attun'd  to  Handel's  higli-wound  lyre 
The  lay  by  tliee  suggested ;  couldst  not  thou 
Soothe  with  thy  sweet  song  the  grim  fury's  breast? 

127  O  for  the  Muse  of  Milton,  to  record 

1762  The  honours  of  that  day,  when  full  conven'd, 

Hibernia's  senate  with  one  voice  proclaim'd 
A  nation's  wide  applause ! 

128  Nor  lists  dull  Death  to  the  melodious  lyre, 

1762  Nor  heeds  the  raptur'd  poet's  heavenly  song; 
Quench'd  in  the  dust  is  Milton's  muse  of  tire, 
And  mute  is  Dryden's  once  harmonious  tongue. 

129  E'en  there  (in  the  future  Canada)   shall 

1763  Some  second  Newton  trace  creation's  laws 
Through  each  dependence  to  the  sovereign  cause; 
Some  Milton  plan  his  bold  impassioned  theme. 
Stretched  on  the  banks  of  Orellana's  stream ; 
Another   Shakespeare  shall  Ohio  claim. 

And  boast  its  floods  allied  to  Avon's  fame. 

130  For  thee,  great  prince,  the  bard  shall  twine  the  wreath, 
1763  For  thee  the  painter  bid  the  canvass  breathe ; 

O !  would  indulgeant  heaven  my  soul  inspire 
With  Raphael's  warmth,  or  Milton's  sacred  fire. 
Then  should  thy  name  to  latest  ages  live 
With  all  the  ornaments  that  verse  could  give. 


»=«John  Langhorne  (1735-1779).  To  The  Memory  of  Mr.  Handel.  Chalmers, 
Eng.  Pts.,  16:424-5.  Allusion  to  Handel's  setting  the  Companion  Poems  to  music, 
1740.    See  pages  169-170  below. 

i^'Same.  The  Viceroy:  Addressed  to  the  Ear!  of  Halifax.  Chalmers,  Eng. 
Pts.,  16:435-437.  This,  and  130  below,  connect  Milton  again  with  occasional 
poetry. 

i='Rev.  Reginald  Heber  (1728-1804).  An  Elegy  Written  Among  the  Tombs 
of  Westminster  Abbey.  Very  popular.  Mo.  Rev.,  May,  1762,  26:356-358.  Pearch, 
Continuation.  1783,  2:135-141.     Bell,  Fug.  Poetry,  9:36-42. 

i=^John  Law.  Christ's  College.  Cambridge  Verses  on  Peace.  176s.  Cr.  Rev., 
Sept.,  1763,  16:183-191. 

''"Chas.  Foot.     Same  occasion  and  reference. 


86  THE    MILTON    TRADITION  [178 

131  With  Milton.  Epic  drew  its  latest  breath. 
J763 

132  Education,  as  "Mrs.  Pedia''  speaks: 

1763  '"In  system'd  song  I  ne'er  was  tuned  before, 

Though  without  me  no  Genius  e'er  could  soar. 

Milton  disdained  me  not;  but  had  he  sung, 

My  name  with  Eve's,  around  the  world  had  rung.'' 

133  Genius! 

176 —  O'er  Time  it  triumphs,  winged  with  native  force; 

Nor  Past,  nor  Future,  circumscribe  its  course. 
Mark  how  it  leads  a  Milton's  mental  eye. 
Thro'  the  vast  glories  of  primeval  sky ; — 
When  Time  itself  was  yet  without  a  name; 
And  Present,  and  Eternal  were  the  same ! 

134  Some  Milton-mad   (an  affectation 
B4.  Glean'd  up  from  college  education) 

1764  Approve  no  verse,  but  that  which  flows 
In  epithetic  measur'd  prose. 

With  trim  expressions  gaily  drest 
Stol'n,  misapply'd,   and  not  confest. 
And  call  it  writing  in  the  stile 
Of  that  great  Homer  of  our  isle. 

Whilom,  what  time,  efsoons,  and  erst, 
(So  prose  is  oftentimes  beverst) 
Sprinkled  with  quaint  fantastic  phrase, 
Uncouth  to  ears  of  modern  days. 
Make  up  the  metre  which  they  call 
Blank,  classic  Blank,  their  .'Ml  in  .Ml. 

Can  only  blank  admit  sublime? 

Go,  read  and  measure  Dryden's  rliyme. 

Admire  the  magic  of  his  song. 

See  how  his  numbers  roll  along. 

With  ease  and  strengtli  and  varied  pause, 

Nor  cramp'd  by  sound,  nor  metre's  laws. 


"iR d  B y,  Esq.     Efisllc  lo  Lord  Mehomb.     Lloyd's   (St.  James) 

Mj^.,  March,  1763,  2:1-8. 

"2Jas.  Elphinston  (1721-1809).  Educaliou.  in  Four  Boolcs.  Mo.  Rev.  IVb , 
1763,  28:103-108. 

>"Saml.  Bishop  (1731-1795).  Genius.  PtI.  Whs.  (ed.  Thos.  Clare).  London, 
1796,   I  :22I-225. 

'"Robert  Lloyd  (1733-176.1).  On  Rliynie.  A  Familiar  F.pislle  lo  A  Friend. 
PH.  Wks.,  1771,  2:105-118.  pp.  112-114. 


179]  POETICAL    TKIHUTES    TO    MILTON  87 

Is  harmony  the  gift  of  rhyme? 
Read,  if  you  can,  your  Milton's  chime; 
Where  taste,  not  wantonly  severe, 
May  find  the  measure,  not  the  ear. 

As  rhyme,  rich  rhyme,  was  Dryden's  choice, 

And  blank  has  Milton's  nobler  voice, 

I  deem  it  as  the  subjects  lead. 

That  either  Measure  will  succeed. 

That  rhyme  will  readily  admit 

Of  fancy,  numbers,  force  and  wit ; 

But  tho'  each  couplet  has  its  strength. 

It  palls  in  works  of  epic  length. 

13s  Now  lukewarm  Ode  in  placid  anger  flows, 

1764?  No  frenzy  rouses,  and  no  rapture  glows; 

Unless  .  .  .  where  FANCY,  with  a  Milton's  art. 

Spreads  all  her  beauties,  and  o'er-powers  the  heart. 

136  Heaven  claims  its  bards 


1764  Thus  he,  who  grew  immortal  as  he  sung 
The  blissful  pair  in  Eden's  happy  clime ; 
Rehearses  now.  with  rapture  on  his  tongue. 
To  gods  the  wonders  of  his  theme  sublime. 

137  Or  when,  of  earthly   Story   tir'd. 

1765  To  higher  Knowledge  I  aspir'd, 
Through  young  Creation  rang'd  along, 
Imparadised  in  Milton's  song. 

138  Is  this  the  land  that  boasts  a  Milton's  fire, 
1765            And  magic  Spenser's  wildly- warbling  lyre? 

(and  Shakespeare,  Pope,  Gray,  Shcnstone, 

Young,  Akenside) 
And  shall  a  Bufo's  most  polluted  name 
Stain  her  bright  tablet  of  untainted  fame! 


^^^Anonymous.  The  Laureat.  A  Poem,  [iiscribcd  to  the  Memory  of  C. 
Churchill.     Cr.  Rev.,  Feb.,  1765,  19:87-90. 

i.?6VVm.  Stevenson,  M.D.  To  the  Memory  of  William  Shenstonc,  Esq.  Cr. 
Rev.,  .Aug.,  1765,  20-133. 

i^'Geo.  Keate  (1729-1797).  The  Temjtle-Studcnt:  An  El>istle  To  A  Friend. 
Ptl.  Wks.,  17S1,  I  :203-235,  p.  234. 

'3'Jas.  Beattie  (1735-1803).  On  the  Rc/'ort  of  A  Monument  To  Be  Erected 
in  IVestminster  Abbey,  To  the  Memory  of  A  Late  Author.  This  author  was  C. 
Churchill,  and  this  poem,  in  Beattie's  own  words,  was  "composed  to  gratify  pri- 
vate resentment."  Brit.  Poets:  Akenside  and  Beattie,  Riverside  ed.,  1S64,  pp.  145- 
152. 


88  THE    MILTOX    TRADITION  [180 

139  But  now  a  Garden,  like  that  Eden  fair, 

1765  Where  first  weak  Eve  the  wily  Foe  beguiled, 

Unbounded,  floating  to  the  balmy  air. 

In  all  the  pride  of  glowing  Beauty  smiled. 

On  loaded  trees  the  clustering  fruitage  liung. 
Ambrosia  dropping  from  the  mellow  bough ; 
The  plumy  races  harmonious  anthems  sung, 
Or  sipped  the  nectar'd  rill  that  streamed  below. 

What  Summer  views  in  all  her  gay  domain. 
What  Fable's  airy  pencil  e'er  bestowed, 
Whate'er  Elysium's  happy  fields  contain. 
In  rich  profusion  crowned  this  blest  abode. 

Nor  yet  wild-scattering  spread  tlie  exhaustless  store, 
But  Taste  to  range  the  copious  growth  combined ; 
Wild  Fancy  stooped  to  Reason's  gentle  lore. 
And  Nature's  boon  informing  Art  refined. 

One  tree  o'er  all  sublime  in  grandeur  stood  : 
So  towers  on  Lebanon's  exalted  brow 
A  Cedar  old,  and  sees  the  rising  w^ood 
Around  its  venerable  Parent  grow. 

Beneath  its  shade,  where  sighed  the  dying  gale. 
Reposed  an  Inmate  of  th'  ethereal  skies : 
With  wavy  radiance  flamed  his  feathered  mail. 
And  flashed  keen  lightning  from  his  dazzling  eyes. 

His  hand  an  apple  held,  delicious  sight ! 
Not  like  the  fruit  that  youthful  Paris  gave ; 
Smooth  was  the  glossy  rind,  with  vermeil  bright, 
Like  Venus  blushing  from  tlic  silver  wave. 

Of  power  to  cleanse  the  tainted  heart  from  sin. 
O'er  the  pure  frame  to  bid  corruption  cease. 
Tune  the  calm  thoughts  to  harmony  within. 
And  soothe  the  boiling  passions  into  peace. 


'^'John  Ogilvie  (1733-1813).  Soliludc:  or,  The  Elysium  of  the  Pods.  Poems 
on  Sev.  Subjects,  1760,  2:217-221.  For  contemporary  criticism,  sec  Cr.  Rev.,  May, 
1766,  21:363-369.     Mo.  Rev.,  Feb.,  1766,  34:116-124. 

The  Introduction  to  this  Poem  is  important  as  an  attempt  to  justify  the  rela- 
tive position  and  worth  assigned  tlie  several  poets.  The  author  is  giving  "in  a 
short  compass  the  character,  merit,  and  discriminating  excellencies  of  the  most 
eminent  British  Poets."  .As  such,  Milton  appears  only  as  an  c/'ic  Md.  though 
Ogilvie  has  pilfered  inuch  from  Milton's  smaller  poems. 


V 


181]  POETICAL    TRIBUTES    TO    MU-TON  89 

A  Bard  was  near ;  and  glittering  by  liis  side 
The  Child  of  magic  song,  the  melting  Lyre, 
Whose  frame  with  Music's  sweetest  breath  supplied, 
Wakes  o'er  the  kindling  soul  celestial  fire. 

Awhile  in  converse  high  the  Angel  Guest 
Held  him  : — then  sweeping  o'er  the  sounding  strings, 
Such  strains  he  pour'd,  as  mid  the  climes  of  rest 
Thrill  the  high  Audience  when  Urania  sings. 

As  when  an  Hermit,  whose  sequestered  cave 
Deep  in  the  shade  of  pathless  wilds  is  thrown. 
Sees  the  dim  Spectre  from  the  gloomy  grave 
Aroused,  and  hears  the  more  than  mortal  tone; 

Or  ardent  marks  some  bright  ethereal  band. 
That  tell  the  wonders  of  the  world  above; 
How   Earth  obedient  to  the  great  Command 
Arose :    How  Angels  hymn  the  Source  of  Love  I 

Awe,  Hope,  and  Transport  seize  him  as  he  hears : 
Such  Passions  rose  when  first  the  Bard  began. 
Sung  how  th'  Eternal  form'd  the  rolling  spheres. 
Or  stamp'd  the  breathing  dust,  and  cali'd  it  MAN. 

To  Heav'n  high-soaring  burst  th'  exalted  song. 
Of  impious  deeds  I  heard,  and  dire  alarms ; 
Two  mighty  hosts  I  saw,  tremendous  throng ! 
Tower  in  refulgent  mail,  and  azure  arms. 

Radiant  they  trod  in  panoply  divine : 
Their  Chiefs,  dark-frowning  in  the  van,   afar 
Like  promontories   moved : — the  dreadful  sign 
Was  given,  and  rush'd  th'  angelic  tribes  to  war. 

'Twas  Thou,  Omnipotent !  whose  parent  care 
Then  held  each  link  of  Nature's  beauteous  chain  ; 
Else  had  yon  worlds  amid  the  fields  of  air 
Been  whirl'd,  and  Night  resumed  her  dark  domain. 

How  swell'd  the  soul,  as  with  its  shaggy  store 
Torn  was  the  fix'd  hill  from  the  rocks  below; 
As  each  strong  arm  th'  inverted  mountain  bore. 
And  hurl'd  th'  o'erwhelming  ruin  on  the  Foe ! 

Not  long  I  gazed,  when  down  the  rending  skies 
The  rushing  chariot  of  Jehovah  came : 
I  saw  the  wheels,  instinct  with  living  eyes. 
Wrapt  in  the  Lightning's  broad  and  sheeted  flame. 


90  THE    MILTON    TRADITION  [182 

Black  thunder  roar'd  around  th'  avenging  God ; 
While  on  the  Whirlwind's  wing  before  Him  driven, 
The  rebel  crew  beheld  their  dark  abode, 
Then  roU'd  wild-howling  o'er  the  verge  of  Heaven. 

Thus  sung  the  Bard;  and  still  to  sight  display'd, 
Rose  with  his  strain  each  vivid  scene  to  view  ; 
To  thought  so  just  was  Fancy's  powerful  aid. 
Her  light  so  piercing,  and  her  shades  so  true. 

140  Here,  Mighty  Milton!  in  the  blaze  of  noon, 
B4  Amid  the  broad  effulgence,  here  I  fix 

1766  Thy  radiant  tabernacle.     Nought  is  dark 

In  thee,  thou  bright  companion  of  the  Sun  ! 
Thus  thy  own  Uriel  in  its  centre  stands 
Illustrious,  waving  glory  round  liim !     He, 
Fairest  archangel  of  all  spirits  in  heaven, 
As  of  the  sons  of  men  the  greatest  thou. 

141  If  he,  who  first  the  apple  sung,  "tlie  fruit 
B4  Of  that  forliiddcn  tree,  whose  mortal  taste 

1766  Brought  death  into  the  world,  and  all  our  woe," 

Unfading  laurels  won;  a  branch  awaits, 
Philips,  thy  youthful  brow,  who  apples  sung 
Innocuous,  and  with  freedom  bade  us  quafl:' 
Their  generous  nectar,  'neath  their  parent  shade, 
.^dvent'rous ;  nor  in  less  inferior  strains. 
Like  Milton  too.  you  taught  Britannia's  song 
To  shake  the  shackles  off  of  tinkling  rhyme. 
Emulate,  unnervous. 

142  The  Captain's  a  zcortliy  cjood  sort  of  a  man, 
Bath  For  he  calls  in  upon  us  wlienever  he  can, 
1766  -And  often  a  dinner  or  supper  he  takes  here, 

.'\nd  Jenny  and  he  talk  of  Milton  and  Shakespeare. 

143  What  honours,  ye  Britons!   (one  emblem  implies) 
1766?  What  glory  to  George  shall  belong! 

What  Miltons,  (the  other)  wiiat  .'\ddisons  rise, 
To  make  him   immortal   in  song! 


nci\Vin.  Thompson   (171J-1766).    In  Milton's  Alcove. 

'■"Same.  In  the  Midst  of  an  Applc-Trcc,  Over  Mr.  PUilips's  Cyder.  See  the 
Garden  Inscriptions.     Anderson,  Brit.  Poets,  10:993,  996. 

There  was  published,  in  1766,  a  poem  entitled  The  Authors,  by  D,  Hayes,  Esq., 
which  has  lines  on  Milton  introducing  Akenside;  but  the  poem  has  not  been  acces- 
sible for  the  present  work.     See  Cr.  Rev.,  June,  1766,  21  :476-478. 

•••^Chrislopher  Anstcy  (1724-1805).  The  New  Both  Guide:  or.  Memoirs  of 
the  B-n-rd  Family.     In  a  series  of  Poetical  Epistles.     Bath,  i.Soq.     Letter  ii. 

'*''Jolm  Cunningham  (1720-177.^').  .S'/(J)/J(/j  on  the  Portmrdnes.'!  of  ■'Spring. 
Chalmers.  Eng.  Pts.,  14:43"- 


183]  POETICAL  TRIBUTES  TO  MILTON  91 

144  Man  formed  for  eternity, 
July            Abhors  annihilation,  and  the  thought 

1766  Of  dark  oblivion.  Hence,  with  ardent  wish 
And  vigorous  effort,  each  would  fondly  raise 
Some  lasting  monument,  to  save  his  name 

Safe  from  the  waste  of  years.     Hence  Caesar  fought; 
Hence  Raphael  painted;   and  hence  Milton  sung. 

145  To  Spencer  much,  to  JMilton  much  is  due; 

1767  But  in  great  Dryden  we  preserve  the  Two. 
What  Muse  but  his  can  nature's  beauties  Iiit, 
Or  catch  that  airy  fugitive,  call'd  zvit:' 

146  O  Pope !  too  great  to  copy,  or  to  praise ; 

1767 

Milton  alone  could  Eden  lost  re-gain ; 
And  only  thou  portray  Messiah's  reign. 

147  I  cannot  think  but  more  or  less 

1768  True  merit  always  gains  success; 

The  second  name  for  epic  song, 
First  classic  of  the  English  tongue, 
Great  Milton,  when  first  appear'd. 
Was  ill  receiv'd  and  coldly  heard. 
In  vain  did  faction  damn  those  lays 
Which  all  posterity  shall  praise. 

148  The  sun  of  science  in  its  morning  warm'd — 
1768  How  glorious,  when  it  blazed  in  Milton's  light, 

.'\nd  Shakespeare's  flame,  to  full  meridian  day. 

149  Ah!  What  the  transient  sounds,  devoid  of  thought, 
C1769  To  Shakespeare's  flame  of  ever-burning  ire. 

Or  Milton's  flood  of  mind,  till  time  expire 
Foredoom'd  to  flow ;  as  Heaven's  dread  energy, 
Unconscious  of  the  bounds  of  place. 


"■•Michael  Bruce  (1746-1767).  The  Last  Day.  ,\nderson,  Brit.  Poets,  11: 
1124-1128. 

"■'■Walter  Harte  (1709-1774).  The  Vision  of  Death.  In  Tlir  Amaranth,  or 
Religious  Poems.    Cr.  Rev.,  Aug.,  1767,  24:121-124. 

"•'Same.     Macarius;  or,  The  Confessor.     Chalmers,  Eng.   Poets,   16:390-392. 

i*'Wm.  Wilkie  (1721-1772).  Phchus  and  the  Shepherd.  Chalmers,  Eng. 
Poets,  16:189. 

i*8Edw.  Lovibond  (1724-1775).  Verses  Written  after  Passing  Through  Fin- 
don,  Sussex,  1768.    Chalmers,  Eng.  Poets,  16:299. 

i"Wm.  J.  Mickle  (1735-17S8).  On  The  Neglect  of  Poetry,  .\nderson,  Brit. 
Poets,  11:670.     Chalmers,  Eng.  Pts.,  17  :5S3-4- 


92  THE    MILTON"    TRADITION  [184 

150  One  lattice  glimmers  in  the  dismal  cell, 
1769            Which  cause,  like  the  flames  in  Milton's  liell, 

"Xo  light,  but  rather  darkness  visible." 

151  The  poet,  who  would  plan  the  perfect  page, 
1769  Above  the  themes  that  touch  a  trivial  age. 

Say!  to  what  purpose  drinks  he  of  the  streams. 

That  fills  the  fancy  with  inspiring  dreams. 

If  in  that  hour,  when  richest  raptures  roll, 

The  pinch  of  poverty  benumb  his  soul? 

For  a  day's  meal  had  Milton  felt  a  fear, 

Urania's  voice  had  vainly  reached  his  ear ; 

Thro'  night's  dark  desert  the  fiend  ne'er  had  stray "d, 

Xor  earth-rent  mountains  cast  their  horrid  shade. 

152  From  yonder  realm  of  empyrean  day 
1769  Bursts  on  my  ear  th'  indignant  lay ; 

There  sit  the  sainted  sage,  the  bard  divine, 

The  few,  whom  genius  gave  to  shine 

Through  every  unborn  age,  and  undiscovered  clime. 

'Twas  Milton  struck  the  deep-toned  shell, 
And,  as  the  choral  warblings  round  him  swell. 
Meek  Newton's  self  bends  from  his  state  sublime, 
And  nods  his  hoary  head,  and  listens  to  the  rhyme. 

153  Ye  Muses  quit  your  sacred  streams. 
And  aid  me  like  the  bard  of  yore, 
Hight,  Milton,   for  like  his,  my  theme 
In  verse  was  never  sung  before. 

154  No  more  the  Grecian  Muse  unrivall'd  reigns, 
C1771  To  Britain  let  the  nations  homage  pay: 

She  felt  a  Homer's  fire  in  Milton's  strains. 
A  Pindar's  rapture  from  the  lyre  of  Gray. 

155  There  silent  mus'd  on  Shakespeare's  tragic  page. 


""Francis  Seighton.  The  Muse's  Blossoms.  Highly  praised  in  the  Mo.  Rev., 
April,  1769,  40:.^02. 

It  describes  the  lad's  prison  at  school,  where  he  was  shut  up  for  eating  tarts 
when  he  should  have  been  reading  Homer. 

""Thos.    Neville.     Iniiltitions  of  Juvenal  and   Pcrsius.     Mo.   Rev.,  Jan.,   1770, 

42:46. 

"2Thos.  Gray.     The  hislallation  Ode. 

"■•■■•AnonymoMs.  Ode  To  Lord  Edgecombe's  Pici.  The  New  I'oundling  Hos- 
pital for  Wit.     1784.    6:240. 

"<Wm.  Mason.     On  Mr.  Cray,  in  IVeslminsler  .Ibbey.     Chalmers,  Fng.  Poets, 

18:338. 

""Anonymous,     /i  Farewell  To  Summer.     Bell,  Fufi.  Poetry.  8:74-78, 


185]  POETICAL    TRIBUTES   TO    MILTON  93 

Of  Milton  learn'cl  to  scale  the  azure  road. 

Chanted  Maeonides'  poetic  rage. 

And  read,  O  Pope!  thy  equal  tlioughts  of  God, 

156  No,  not  in  rhyme.     I  hate  that  iron  chain, 

1773  Forged  by  the  hand  of  some  rude  Gotli,  which  cramps 

The  fairest  feather  in  the  Muse's  wing. 

And  pins  her  to  the  ground.    Shall  the  quick  thought 

That  darts  from  world  to  world,  and  traverses 

The  realms  of  time,  and  space,  all  fancy-free. 

Check  in  his  rapid  flight,  obey  the  call 

Of  some  barbarian,  wlio  by  sound  enslaved, 

And  deaf  to  manly  melody,  proclaims, 

"No  farther  shalt  tliou  go?"     Pent  in  his  cage 

The  imprisoned  eagle  sits,  and  beats  his  bars ; 

His  eye  is  raised  to  Heaven.    Tho'  many  a  moon 

Has  seen  him  pine  in  sad  captivity, 

Still  to  the  thunderer's  throne  he  longs  to  bear 

The  bolt  of  vengeance :  still  he  thirsts  to  dip 

His  daring  pinions  in  the  fount  of  light. 

Go,  mark  the  lettered  sons  of  Gallia's  clime. 

Where  critic  rules,  custom's  tyrant  law, 

Have  fettered  the  free  verse.    On  the  palled  ear 

The  drowsy  numbers,  regularly  dull, 

Close  in  slow  tedious  unison.     Not  so 

The  bard  of  Eden  :  to  the  Grecian  Lyre 

He  tuned  his  verse;  he  loved  the  genuine  muse, 

That  from  the  top  of  Athos  circled  all 

The  fertile  islands  of  the  Aegean  deep. 

Or  roamed  o'er  fair  Ionia's  winding  shore. 
Poet  of  other  times,  to  thee  I  bow 

With  lowliest  reverence.     Oft  thou  tak'st  my  soul, 

And  waftest  it  by  thy  potent  harmony 

To  that  empyreal  mansion,  where  thine  ear 

Caught  the  soft  warblings  of  a  Seraph's  harp. 

What  time  the  nightly  visitant  unlocked 

The  gates  of  Heaven,  and  to  thy  mental  sight 

Displayed  celestial  scenes.     She  from  thy  lyre 

With  indignation  tore  the  tinkling  bells, 

And  tuned  it  to  sublimest  argument. 

Sooner  the  bird  that  ushering  in  the  spring 

Strikes  the  same  notes  with  one  unvarying  pause, 

Shall  vye  with  Philomel,  when   she  pursues 

Her  evening  song  through  every  winding  maze 


i5B\Vm.  Roberts  (1745-1791").  A  Poetical  Efistle  To  Christopher  Aiistey,  Esq. 
On  The  English  Poets.  Chiefly  Those  Who  Have  Written  In  Blank  Verse.  4to. 
Payne.  1773.  Favorably  received.  Cr.  Rev.,  Jan.,  1773.  35:52-54-  Mo.  Rev.,  Feb., 
1773,  48:145-148. 


94  THE    MILTON    TKADITIOX  [186 

Of  melody,  than  rhyme  sliall  soothe  the  soul 
With  music  sweet  as  thine. 

157  "But  how,"  they  ask,  "can  we  this  gem  obtain?"' 
Wr.  Be  that  thy  task,  O  Lucas,  to  explain. 

1770  As  Milton,  eyeless  bard,  has  sweetly  sung 

The  fatal  source  whence  all  our  woes  first  sprung, 
So  he  has  taught,  though  not  in  measured  phrase, 
A  lesson  which  deserves  full  greater  praise; 
How  man  (as  once  in  Eden)  may  be  blest. 
And  paradise  be  found  in  every  breast. 
O !  may  you  find  it  there,  may  you  obtain 
The  bliss  which  too  much  knowledge  rendered  vain, 
By  tasting  boldly  the  fair  fruit  again. 

Lucas  like  Milton,  wondrous  bard,  was  blind, 

Like  Milton  too,  illumined  was  his  mind : 

Then  ask  thy  Guide,  for  he  who  seeks  shall  find. 

158  Again  I  pace  thee,  magic  tow  n  ; 
Again  recall  thy  past  renown. 

When  Milton's  wand  Arcadia  ruled : 
Or  Comus  and  the  midnight  crew 
Their  playful  spirits  hither  drew- : 
Where  in  tlie  mortal  habit  came 
The  Genius  of  the  Vestal  flame. 

The  lay  of  Milton   I  can  liear. 

159  I  woo  nor  thee,  thou  goddess,  hcav'nly  bright! 
CI776          Fair  Muse  .  .  .   (of  Homer  and  Virgil) 

Xor  thee,  who  gav'st  thine  aid  of  later  years 
To  liim,  great  bard,  Britannia's  boasted  pride. 
Majestic  Milton;  who,  in  verse  no  less 
Sublime,  a  theme  unsung  before  display'd. 

160  America,  with  just  disdain, 

April  Will  burst  degenerate  Britain's  chain, 

1776  And  gloriously  aspire ; 


"'Thomas  Chattcrton  (1752-1770),  Ilnquiry  After  Haf'j^incss.  Written  in 
May  (?),  1770,  and  printed  in  the  Gospel  Magazine  in  November  of  that  year. 
Ptl.  Wks.  of  T.  Chalterlon  (Skeat),  1:184. 

"'Geo.  (Justice)  Hardingc  (174,3-1816).  On.  Ludlow.  Nichols,  Lit.  Itlus., 
3:802. 

'""Chas.  Crawford.  The  First  Canto  of  The  Revolution:  an  Efiie  Poem.  Cr. 
Rev.,  June,   1776,  4'  :475-478. 

""'John  Debrett  (  -1822).  Lord  Chatham's  Profhecy.  An  Ode.  Neiv 
roundlimi  lhi':i'ii.il  ('tr  W'il.     i;Si.     i:7.;-oi.     Stanza  ix. 


187]  POETICAL    TKIBITTES   TO    MILTON  95 

I  see  new  Lockes  and  Canidens  rise, 
Whilst  other  Xewtons  read  the  skies, 
And  Miltons  wake  the  lyre. 

161  The  Masque  of  Conius,  which  tlie  eyeless  Bard 
1776  (Britannia's  Homer)   in  immortal  \erse 

April  Gave  to  th'  admiring  world,  where  moral  grave, 

Pleasure's  allurements,  and  the  bevel  route 
Of  Bacchanalian  Riot,  Dance  and  Song, 

In  mingled  measure  charmed  the  eye  and  ear. 

162  That  mighty  'Visitant 

1776  ...  .      .      when  he  left  immortal  choirs, 

To  mix  with  Milton's  kindred  soul. 

The  labours  of  their  golden  lyres 

Would  steal,  and  "whisper  whence  he  stole." 

The  Muse's  gentle  offering  still 
Your  ear  shall  win,  your  love  shall  woo, 
And  these  spring-flowers  of  Milton  fill 
The  favour'd  vales  where  first  they  grew. 

163  When  Milton  sings  of  Angels  bold  in  fight. 
Pub.  Or  blooming  Cherubs  half-dissolv'd  in  light ; 
1776            Or  leads  his  Eve  to  .'Kdam's  longing  arms, 

In  all  the  lustre  of  primeval  charms : 

Fir'd  with  the  song,  thro'  Eden's  blissful  groves. 

With  the  first  pair  th'  enraptur'd  fancy  roves, 

'Midst  crystal  founts  or  amarantliine  bow'rs, 

Ambrosial  fruits  and  ever-blooming  flowers. 

We  trace  each  step  by  various  passions  tost, 

And  quit  with  tears  the  Paradise  they  lost. 

Like  that  blest  pair,  by  Gainsb'rough's  pencil  drawn, 

Here  each  fond  couple  treads  the  flow'ry  lawn ; 

But  when  the  landskip's  various  charms  we  trace. 
Where  Nature's  self  appears  with  heigliten'd  grace; 

Each  landskip  seems  a  Paradise  regained. 


'"^Robert  Jephson  (1736-1803).  Extcntporc  Ludicrous  Miltonic  J'crscs.  To 
the  late  Mrs.  Gardiner.     Debrett,  Asylum  for  Fugitive  Pieces,  3  ■.2(56-267. 

•"-Dr.  John  Langhorne  (173S-1779).  A  Poetical  Epistle  To  A  Gentleman  of 
Italy.    Appended  to  Milton's  Italian  Poems.    Mo.  Rev.,  Nov.,  1776,  55:383-385. 

i^'^Rich.  Graves  (1715-1804).  On  Mr.  Gainsborough:  Equally  E.xcellcnt  in 
Landskip  and  Portraits.     Euphrosyne.     i  ;I3I-I32. 


96  THE    JIILTOX    TRADITION  [188 

164  But  whilst  lie  gives  tlieir  well-earned  praise 
1776  To  classic  wits  of  ancient  clays, 

He  none  superior  finds  to  those, 
Who  in  our  seats  of  learning  rove. 
Again  in  Milton  Homer  lives ; 
The  Stagj'rite  in  Locke  revives. 

165  But  Popularity,  alas !  has  wings, 

^777  And  flits  as  soon  from  poets  as  from  kings. 

My  pompous  Postscript  found  itself  disdained 
As  much  as  Milton's  Paradise  Regained. 

166  The  daughters  and  the  sons  of  Phoebus, 

1778  Who  twine  the  riddle  and  the  rebus, 

Acrostics  weave 

Up  to  the  aspiring  bards  who  soar 

.\loft  in  proud  Miltonic ! 

167  Thou  Swan  of  Avon  !  how  I  love  thy  strains ! 

1779  Cherub  of  Eden!  clap  thy  gorgeous  wings: 
Tell  the  sweet  singers  how  the  lark  maintains 
Gay  from  the  grassy  bed  her  airy  wings : 
Dash'd  by  the  sighings  of  an  eastern  wind. 

The  pretty  warbler  wheels  and  pants   for  fear ; 
And  seeing  heaven  before,  and  earth  behind, 
Drops  to  her  nest,  and  wliispers, — God  'vas  there. 

168  O'er  those  rude  scenes  Confusion's  sliadows  dwell, 

1780  Beyond  the  power  of  genius  to  dispell ; 

Mist!  which  ev'n  Milton's  splendid  mind  enshroud; 
Lost  in  the  darkness  of  the  Saxon  cloud  I 

169  Ages  lapsed  ere  Homer's   lamp  appear'd, 
Wr.             And  ages  ere  the  Mantuan  Swan  was  heard, 

1781  To  carry  nature  lengths  unknown  before, 
Pub.           To  give  a  Milton  birth,  asks  ages  more. 


i«<Samc.     Euphrosyne.    2 :57-64,  p.  60. 

'"'■Wm.  Mason  (1724-1797).  An  Epistle  to  Dr.  Shebbeare.  Chalmers,  Eng. 
Pts.,  18:416.    Nczv  Eoundling  Hospital,  17S4,  2:3.3. 

'""Christopher  Anstey  (1724-1805).  Envy;  A  Poem.  Addressed  to  Mrs.  iMil- 
Icr,  at  liatli-Easton-Villa.    4to.    Dodsley.     Mo.  Rev.,  July,  1778,  59:72. 

'"John  Wheeldon  (-1772). T/i(?  Jeivish  Bard.  In  4  Odes,  to  the  Holy  Moun- 
tains.   4I0.    Goldsmith,  1779.    Mo.  Rev.,  August,  1779,  61  :()3-9.S- 

»"«Wm.  Hayley  (1745-1820).  An  Essay  on  History  (3  Epistles).  Epistle  iii, 
lines  313-316.  Argument:  "Danger  of  dwelling  on  the  distant  and  minute  parts 
of  a  subject  really  interesting.  Failure  of  Milton  in  this  particular."  Poems  and 
Plays.  London,  178^,  2:82.     This  was  addressed  to  Gibbon. 

>"»Win.  Cowpcr  (1731-1800).  Tabic  Talk.  Chalmers,  Eng.  Poets,  18:605-611, 
p.  600. 


189]  POETICAL    TRIBUTES    TO    MILTON  97 

1782  Thus  Genius  rose  and  set  at  order'd  times, 

And  shot  a  day-spring  into  distant  climes, 
Ennobling  ev'ry  region  that  he  chose ; 
He  sunk  in  Greece,  in  Italy  he  rose ; 
And,  tedious  years  of  Gothic  darkness  pass'd, 
Emerg'd  all  splendour  in  our  isle  at  last. 

170  (Suggestion  for  painting) 

1782  Bid  Milton's  Satan   from  the  burning  steep 

Call  his  wide  legions,  slumb'ring  on  the  deep. 

171  Apart,  and  on   a   sacred   hill   retired, 
1782  Beyond  all  mortal  inspiration  fir'd, 

The  mighty  Milton  Sits — an  host  around 

Of   list'ning   angels   guard   the   holy   ground ; 

-Amaz'd  they   see  a  human   form   aspire 

To  grasp  with  daring  hand  a  seraph's  lyre, 

Inly  irradiate  with   celestial   beams. 

Attempt  those  high,  those  soul-subduing  themes. 

And    celebrate,   with    sanctity   divine, 

The  starry  field  from  warring  angels  won. 

And  God  triumphant  in  his  Victor  Son. 

Nor  less  the  wonder,  and  the  sweet  delight, 

His   milder    scenes   and    softer    notes    excite. 

When  at  his  bidding  Eden's  blooming  grove 

Breathes  the  rich  sweets  of  innocence  and  love. 

With   such  pure  joy  as   our   fore-fathers  knew 

When  Raphael,  heavenly  guest,  first  met  his  view. 

And   our   glad    sire,   within    his   bower. 

Drank  the  pure  converse  of  th'  aetherial  power, 

Round   the  blest  bard   his   raptur'd   audience   tlirong, 

And  feel  their  souls  imparadis'd  in  song. 

If    the    Enthusiast    higher    hope    pursues, 

O  turn  where  Milton  fiames  with  Epic  rage. 

From  earth  she   (the  Muse)   bears  him  to  bright  Fancy's  goal. 
And   distant   fame   illuminates  his  soul. 


^'"John  Scott  (1730-1783).  An  Essay  On  Painting.  To  A  Young  Artist. 
Chalmers,  Eng.  Poets,  17:491-496.     Scott's  Collected  Works,  1782. 

I'^Wm.  Hayley.  An  Essay  On  Epic  Poetry.  To  Mr.  Mason.  Hayley's  Poems 
and  Plays,  London,  I/85.  Vol.  Ill,  pp.  73,  96.  The  Critical  Review  (Oct.,  1782, 
54:241-52)  quotes  the  first  of  these  as  a  choice  selection.    Cf.  Tribute  No.  8gn. 


98  THE    MILTON    TRADITION  [190 

172  O !  was  I  blest  with  ench  heart-melting  trope, 
1783            The  wing  of  Milton,  and  the  flow  of  Pope, 

Was  all  the  melody  of  Warton's  mine, 
And  all  the  music  of  the  tuneful  Nine; 
To  thee,   Columba,  ever,  ever  true, 
My  softest  song  should  flow,  to  soften  you. 

173  Hither  the  Muse  would  sometimes  bend  her  way, 
1783  Willing  to  loiter,  but  afraid  to  stay; 

Until  bright  spirits  of  etherial  fire 
Raised  the  charm'd  note,  and  waked  the   British  lyre, 
Shakespeare  and  Milton !     Listening  to  their  lays, 
How  soon  unfelt  were  Albion's  clouded  days. 

174  I  see  a   Homer  and  a  Milton  rise 
1783  In  all   the  pomp  and  majesty  of  song. 

Which  gives  immortal  vigour  to  the  deeds 
Atchieved  by  heroes  in  the  field  of  fame. 

175  Tho'  his  contention  with  the  scribbling  crowd 
C1784  Was  like  the  Sun  contending  with  a  cloud. 

Which  the  next  wind  would  hastily  disperse. 
And  leave  the  day  as  radiant  as  his  verse. 

176  Hence,  free  from  warlike  toils  and  stern  debate, 
1785            These  friendly  rivals  of  a  parent  state, 

By  growing  virtues   their  descent   shall   prove. 
Each  liberal  art  aspiring  to  improve, 
Till  other  Lockcs  and  Miltons  shall   be  born. 
Ages  remote  to  polish  and  adorn. 


•''Miles  Parkin.  Columbia,  A  Ptl.  Epistle,  heroic  and  Satirical,  to  the  Rt. 
Hon.  Chas.  Earl  Cornwallis.  4to.  Debrctt.  To  urge  reconciliation  between  Eng. 
and  Amcr.,  Cr.  Rev.,  Oct.,  1783,  56:311-2. 

"•''Fred.  Howard  (1748-1825).  5th  Earl  of  Carlisle.  The  Father's  Revenge. 
A   Tratjedy.     London,    1800. 

>'<Anonymous.  The  Rising  Glory  of  America.  Netv  Fndlg.  Hospital  for 
Wit.    4.247-257. 

""Anonymous.  A  Dialogue  Between  Dr.  Johnson  and  Dr.  Goldsmith,  in  the 
Shades,  relative  to  the  former's  Strictures  on  English  Poets,  particularly  Pope, 
Milton,  and  Gray. 

"The  poor  Doctor  (Johnson)  pleads  guilty  to  iho  charge  of  partiality,"  but 
attempts  to  atone  for  the  evil  by  a  character  of  Milton,  quoted  by  the  Critical 
Reincw,  as  "inferior  lo  nothing  in  this   performance."     April,   1785,  59:304-305. 

'"Rev.  J.  Gilpin.  An  Es.wy  upon  the  Peace  of  17S3,  dedicated  to  the  Arch- 
bishop of  Paris.  Translated  from  the  French  of  the  Rev.  J.  Fletcher,  late  Vicar 
of  Madeley,  Salop,  //to.  Hindmarsh,  1785.  These  arc  lines  on  the  American 
Colonics.    Mo.  Rev.,  Feb.,  1786,  74:147. 


191 J  POETICAL    TRIBUTES    TO    MILTON  99 

177  Philosophy,  baptized 
1785            In  the  pure  fountain  of  eternal  love, 

Has  eyes  indeed ;  and,  viewing  all  she  sees 
As  meant  to  indicate  a  God  to  man, 
Gives  Him  His  praise,  and  forfeits  not  her  own. 
Learning  has  borne  such  fruits  in  other  days 
On  all  her  branches.     Piety  has  found 
Friends  in  the  friends  of  science,  and  true  prayer 
Has  flowed  from  lips  wet  with  Castalian  dews. 
Such  was  thy  wisdom,  Newton,  childlike  sage! 
Sagacious  reader  of  the  works  of  God, 
And  in  His  Word  sagacious.     Such  too  thine, 
Milton,  whose  genius  had  angelic  wings. 
And  fed  on  manna.    And  such  thine,  in  whom 
Our  British  Themis  gloried  with  just  cause. 
Immortal   Hale!    for   deep   discernment   praised. 
And    sound   integrity   not   more,   than    famed 
For  sanctity  of  manners  undefiled. 

Then  Milton  had  indeed  a  poet's  charms ; 

New  to  my  taste  his  Paradise  surpass'd 

The  struggling  efforts  of   my  boyish  tongue 

To  speak  its  excellence,  I  danced   for  joy. 

I  marvelled  much  that  at  so  ripe  an  age 

As   twice   seven    years,    his   beauties    had    then    first 

Engag'd  my  wonder ;   and   admiring  still, 

And    still    admiring,    with    regret    suppos'd 

The  joy  half  lost,  because  not  sooner   found. 

178  And  thou,  immortal  Bard !     By  Seraphs  crowned ! 
1785  Whether  with  lively  Mirth  and   Pleasure  gay. 

Thou  listen  to  the  jocund  rebec's  sound, 
Or  frame  the  melting  melancholy  lay ; 

Still  dost  thou  charm  no  less  than  when  thy  song 

Majestic  bids  our  fearful  eyes  behold 

Angelic  combat,  and  the  rebel  throng 

Down  from  the  verge  of  Heaven  headlong  rolled. 

Since  then  the  noblest  of  the  tuneful  art 
Have  deigned  to  lay  aside  the  bolder  lyre, 
And  touch  with  sweet  simplicity  the  heart; 
With  me,  my  Friend,  the  artless  strain  admire. 


""Wm.  Cowper  (1731-1800).    The  Task.    Bk.  Ill,  242-59;  IV,  709-17. 

I'^Saml.  Knight  (1759-1827).  Elegies  and  Sonnets.  4to.  Cadell.  178 j.  and 
ed.  1787.  Taken  from  the  Mo.  Rev.,  Aug.,  1785,  73:121-123.  For  the  author,  see 
Mo.  Rev.,  Aug.,  1787,  77:160. 


100  THE    JIILTOX    TRADITION  [192 

Convinced,  Ambition's  fond  pursuit  give  o'er ; 
Content  be  thou  with  milder  rays  to  shine : 
Few  can  attain  the  wreath  that  Milton  wore, 
But  Hammond's  myrtle  chaplet  may  be  thine. 

179  In  happier  times,  in  Charles'  golden   reign, 

?  c  How  oft  did  Dryden,  at  thy  shrine  complain? 

1786  Did  patriot  Milton  ever  feel  thy  smile? 
(At  once  the  shame  and  glory  of  our  isle!) 

180  Immortal  Freedom ! 

1787  


And  far  as  memory  traces  back  my  years. 
My  soul,  the'  touch'd  with  social  sympathies. 

Revolted  at  oppression. Nymph  divine! 

If  from  the  sound  of  Milton's  golden  lyre; 
Of  Thomson's  Doric  pipe  .... 

Thou  now  withhold  thine  audience ; — hither  turn 
Indulgent ;  for  tho'  sweeter  song  hath  charm'd, 
Yet  praise  sincercr  never  met  tliine  ear. 

181  O,  in  your  gardens  love  wild  Nature's  plan ; 

1790  For  God  himself  the  model  gave  to  man! 

When  Milton's  hand  the  blessed  asylum  wove, 
Where  our  first  parents  wandered  rich  in  love; 
Did  he  with  frigid  rules  then  each  path  restrain? 
Did  he  in  fetters  vile  the  waves  enchain? 
Did  he  a  load  of  foreign  splendours  fling. 
O'er  earth's  soft  infancy,  and  earliest  spring? 
No!  artless,  uncontined,  there  Nature  bland 
With  loveliest   fancies  decked  tlie  laughing  land. 
Of  hills  and  vales  the  bright  confusion  gay. 
And  streams,  that  as  they  lift,  meand'ring  play. 
The  doubtful  paths  that  ever  wind  along. 
Still  with  new  views,  their  varying  joys  prolong. 
There  ever  stray  tlieir  eyes  with  fresh  delight. 
Unknowing  where  to  fix  the  ravished  sight. 
O'er  the  green  velvet  of  the  enamelled  meads, 
A  thousand  trees  wave  high  their  tufted  heads. 
And  charm  each  sense  of  smell,  of  taste,  or  view. 


"".Anonymous.  To  Fortiiiir.  J.  Debrctt,  An  .■Isyluiii  for  Fugitive  Pieces, 
1786,  2:228-233. 

i9o\v,„    Roscoe  (1753-1831),     The  Wrongs  of  Africa,  p.  34. 

'"Abbe  dc  Lille.  The  Garden:  or,  The  Art  of  Laying  Out  Grounds.  Trans- 
lated from  the  French  of  the  Abbe  de  Lille.  Cadell.  This  passage  has  popular 
interest,  as  appears  in  the  Critical  Review,  Oct.,  1790,  70:409-414.  Cf.  Appendix  I, 
p.  268. 


193]  POETICAL    TRIBUTES   TO    MILTON  101 

With  blossoms  fair,  or  fruits  of  glossy  hue. 

Or  in  thick  clumps,  or  negligently  spread, 

They  clothe,  or  fly ;  here  from  a  deep'ning  glade, 

A  landscape  gay  expands  its  op'ning  charms; 

There  to  the  ground  low  bend  tlieir  branching  arms, 

And  gently  check  their  steps,  or  in  mid  air 

High  o'er  their  hands  a  verdant  chaplet  rear: 

Or  as  they  muse  beneath  the  noon-tide  bower, 

Fling  o'er  their  hair  a  bloomy  scented  shower. 

Why  should  I  sing  the  luscious  shrubs,  the  vines, 

Where  round  each  bow'r  their  verdant  curtain  twines? 

There  blushing  like  the  rising  morn,  while  love 

Beamed  from  each  eye.  Eve  sought  the  nuptial  grove, 

And  to  her  youthful  lover's  longing  arms 

Obsequious  yielded  all  lier  virgin  charms. 

The  genial  hour  exulting  Nature  hails. 

Their  sighs  ecstatic  swell  the  gentle  gales. 

Murmur  the  waves,  fair  smile  the  heavens  above, 

And  joyful  earth  congratulates  their  love ; 

Whisper  the  groves,  the  rose  inclines  its  head. 

And  flings  fresh  odors  o'er  the  bridal  bed. 

O  joys  ineffable!     O  happy  pair! 

How  blessed,  like  you,  who  'mid  their  gardens  fair 

May  dwell,  from  painful  pride  afar,  may  rove 

'Mid  fruits  and  flowers  with  innocence  and  love. 

182  'Twas  night,  and  buried  in  profound  repose, 

1790  The  numerous  tribes  of  busy  mortals  lay, 

My  wakeful  eyes  alone  forgot  to  close, 

And  thought  succeeded  to  the  cares  of  day: 

Till  wearied  nature  sunk  at  length  to  rest, 

But  Fancy  hovering  still  around  my  head ; 

Fancy,  the  sleepless  tenant  of  the  breast. 

Its  airy  visions  o'er  my  slumbers  spread : 

When  to  my  view  a  grizly  form  appears, 

Of  mien  majestic,  but  dejected  hue. 

Reverend,  sunk  deeply  in  the  vale  of  years, 

The  Father  of  the  English  Song  I  knew. 

Hail,  cried  I,  Author  of  immortal  lays — 

My  Son,  said  he,  these  titles  now  forbear. 

No  time  remains  to  waste  in  useless  praise. 


'8'-.'\nonymous.  Milton's  Ghost.  An  Elegy.  J.  Debrett.  Asylum  for  Fug. 
Pieces,  1795,  4:123-125. 

Written  in  the  year  1790,  when  a  report  prevailed  that  the  Grave  of  Milton 
had  been  discovered  in  Cripplegate  Church-Yard,  on  which  occasion  the  supposed 
remains  of  this  famous  Poet  were  dug,  and  suffered  for  some  days  to  remain 
exposed  to  public  view.    See  the  poem  on  this  occasion  by  Cowper,  Appendix  J. 


102  THE    MILTON    TRADITION  [194 

A  different  subject  now  demands  our  care! 

Thou  know'st,  and  oft  hast  niourn'd  how  hard  my  lot, 

Of  evil  daj's  and  evil  tongues  the  prey, 

Dishonour'd,  unrewarded,  and  forgot, 

I  sunk  the  unheeded  victim  of  decay. 

Obscurely  in  a  vault  my  corpse  wras  laid, 

Fenc'd  by  no  shelter  from  the  common  doom, 

No  voice  of  praise  was  heard  to  soothe  my  shade, 

No  pomp  of  funeral  adorn'd  my  tomb: 

Yet  saw  I  sons  their  fathers'  faults  disclaim. 

The  tribute  long  withheld  of  honour  pay. 

My  strains  victorious  fill'd  the  voice  of  fame. 

Nor  grieved  I  though  my  corpse  unheeded  lay. 

But,  ah,  how  shall  I  tell  the  dire  disgrace! 

With  hands  profane  my  tomb  they  now  disclose, 

My  bones  torn  rudely  from  their  grave  deface, 

And  rob  my  ashes  of  their  due  repose! 

Was  it  for  this  I  toiled  in  freedom's  cause, 

With  ceaseless  care  the  arduous  labor  ply'd. 

Dethroning  tyrants,  and  asserting  laws. 

Till  light,  alas,  its  friendly  aid  deny'd? 

Was  it  for  this,  though  quenched  my  visual  ray, 

I  woo'd  the  Muse  to  build  the  lofty  rhyme. 

To  more  than  mortal  themes  attun'd  my  lay. 

And  soar'd  beyond  the  bounds  of  space  and  lime? 

Is  this  the  fame  I  hop'd  from  future  days. 

Are  these  mighty  honours  they  bestow — 

With  sacrilegious  hands  my  corpse  to  raise. 

My  bones  expose  a  mercenary  show? 

To  brand  the  wretches,  who  the  dead  invade. 

With  shame  and  fell  remorse  be  thine  the  care. 

The  cock  was  heard  to  crow — no  more  he  said. 

And  the  thin  vision  vanished  into  air. 

183  O  for  the  pen  of  Milton,  to  describe 

1790  Thy  winning  sadness,  thy  subduing  sigli, 

Gentle  Maria ;  to  describe  thy  pains, 

Assiduous  Frederic,  to  alleviate  grief 

And  hang  a  smile  upon  thy  Anna's  brow  ; 

To  paint  the  sweet  composure  of  thy  looks, 

Experienc'd  Adriano,  thy  attempt 

To  waken  cliccrfulness,  and  frequent  eye 

Stealing  aside  in  pity  to  Maria. 


""James  Hurdis  ( i-e.vif^i").  .Idriinu);  or,  The  First  of  June.  In  these 
lines,  Sophia  is  weeping  for  lier  brother  Gilbert,  whom  she  supposes  to  be  drowned. 
Mo.  Rev.,  Sept.,  1790,  84(3)  :5i-S9- 


195]  POETICAL    TRIBUTES    TO    MILTON  103 

184  But  since  tlie  gaping  world  in  deep  nmaze 

1791  Still  on  thy  last  eccentric  pamphlet  gaze, 

Which  like  great  Milton's  hero  o'er  the  plain 

Where  tumult,  discord,  and  sedition  reign. 

18s  God  of  ten  million  charming  things, 

1791  Of  whom  our  Milton  so  divinely  sings. 

186  Whist:  a  Poem,  in  Tivclve  Cantos. 
1791  Sec  note  below. 

187  In   Youth. 

1791  Milton,  our  noblest  poet,  in  the  grace 

Of  youth,  in  those  fair  eyes  and  clustering  hair, 

That  brow  untouched  by  one  taint  of  care 

To  mar  its  openness,  we  seem  to  trace 

The  front  of  the  first  lord  of  human  race, 

'Mid  thine  own  Paradise  portrayed  so  fair. 

Ere  Sin  or  Sorrow  scathed  it :  such  the  air 

That  characters  thy  youth.     Shall  time  efface 

These  lineaments  as  crowding  cares  assail ! 

It  is  the  lot  of  fall'n  humanity. 

What  boots  it?  armed  in  adamantine  mail, 

The  unconquerable  mind,  and  genius  high. 

Right  onward  hold  their  way  through  weal  and  woe, 

Or  whether  life's  brief  lot  be  high  or  low! 

/)(  Age. 
And  art  thou  he  now  "fall'n  on  evil  days," 
And  clianged  indeed!     Yet  what  do  this  sunk  cheek. 
These  thinner  locks,  and  that  calm  forehead  speak ! 
A  spirit  reckless  of  man's  blame  or  praise, — 
A  spirit,  when  thine  eyes  to  the  noon's  blaze 
Their  dark  orbs  roll  in  vain,  in  suffering  meek. 
As  in  the  sight  of  God  intent  to  seek, 
'Mid  solitude  or  age,  or  through  the  ways, 
Of  hard  adversity,  the  approving  look 


"^Anonymous.  Heroic  Efistle  To  Joseph  Priestly,  LL.D.,  F.R.S.  (1733-1804). 
Cr.  Rev.,  Oct.,  1791,  n.  s.,  3:212-214. 

isspgter  Pindar,  John  Wolcott  (1738-1819).  Ode  to  Hymen;  or,  The  Hectic. 
The  Works  of  Peter  Pindar,  Esq.  London,  1794.  III.,  43.  Quoted  also  in  the 
Crit.  Review,  June,  1791,  n.  s.,  2 :220-223. 

i*«AIex.  Thomson  (1763-1803).  Whist:  A  Poem.  The  fifth  canto  of  this 
very  popular  poem  "opens  with  a  humorous  comparison  between  the  slow  prog- 
ress of  Milton's  Paradise  Lost  and  the  Game  of  Whist  toward  popularity."  Mo. 
Rev.,  Dec,  1791,  87(6)  :40i-4O4.    Crit.  Rev.,  May,  1791,  n.  s.,  2:18-27. 

i*^W.  L.  Bowles  (1762-1850).  On  the  Busts  of  Milton,  in  Youth  and  Age,  at 
Stourhead.    Ptl.  Wks.  (Gil/Ulan),  2  vols.,  Edinburgh,  1855,  1 130-31 . 


104  THE    MILTON    TRADITION  [196 

Of  its  great  Master;  wliilst  the  conscious  pride 

Of  wisdom,  patient  and  content  to  brook 

All  ills  to  that  sole  Master's  task  applied, 

Shall  show  before  high  heaven  the  unaltered  mind, 

Milton,  though  thou  art  poor,  and  old,  and  blind ! 

188  For  in  his  own  and  in  his  Father's  might 

1794  The  Savior  comes!     While  as  the  Thousand  Years 

Lead  up  their  mystic  dance,  the  Desert  shouts ! 
Old  Ocean  claps  his  hands !     The  mighty  Dead 
Rise  to  new  life,  whoe'er  from  earliest  time 
With  conscious  zeal  had  urged  Love's  wondrous  plan. 
Coadjutors  of  God.    To  Milton's  trump 
The  high  groves  of  the  renovated  Earth 
Unbosom  their  glad  echoes:  inly  hushed. 
Adoring  Newton  his  serener  eye 
Raises  to  heaven. 

189  The  Progress  of  Poetry,  Painting,  and  Music. 
1794  See  note  below. 

190  All  hail,  thnu  Western  World  !  by  heaven  design'd 
1704  Th'  example  bright,  to  renovate  mankind: 

Where  slept  perennial  night,  shall  science  rise, 
And  new-born  O.xfords  cheer  the  evening  skies; 
Miltonic  strains  the  Mexic  hills  prolong. 
And  Louis  murmurs  to  Sicilian  song. 

Sec  rising  bards  ascend  the  steep  of  fame! 
Where  truth  commends  and  virtue  gives  a  name, 
With  Homer's  life,  with  Milton's  strength  aspire. 
Or  catch  divine  Isaiah's  hallow'd  fire. 

191  In  Homer's  craft  Jock  Milton  thrives; 
Before  Eschylus'  pen  Will  .Shakespeare  drives. 
1796 


18SS    -p    Coleridge   (1772-1834).     Religious  Musings Christmas  Eve  of 

1794.    Globe  F.dition,  p.  59. 

'"^John  Hidlake  (1755-1814).  The  Progress  of  Poetry,  fife.  Poems.  4to. 
Chapman,  1794.  Has  lines  on  Milton,  but  not  found  for  this  paper.  Mo.  Rev., 
March,  1795,  97(16)  :2SS-26i. 

""•Timothy  Dwight  (1752-1817).  Greenfield  Hill  (Conn.)  .V.  Y.,  1794-  Part 
II,  lines  7.3.3-736;  VH,  483-486. 

'"'Robert  Burns  (1759-1796).  Poem  on  Pastoral  Poetry.  The  Poetry  of 
R —  B —  (Henley- Henderson),  1896.  4:50-52.    Cf.  4:i05n. 


197]  POETICAL    TRIBUTES    TO    MILTON  105 

192  (Milton  and  Homer,  sittincj,  af' feared  equal:  but) 

1796  When  each  uprear'd 
His  mighty  stature,  Britain's  giant  son 

Would  proudly  rise,  and  leave  the  Greek  below. 

193  Now  their  new  guest  the  sacred  hosts  include, 

1797  They  who  on  earth  with  kindred  lustre  shone. 

There  'mid  empyreal  light  shall  hail  his  Gray ; 
There  Milton  thron'd  in  peerless  glory  see; 
The  wreath  that  flames  on  Thomson's  brow  survey ; 
The  vacant  crown  that,  Cowper,  waits  for  thee. 

194  Come,  Muse  of  Albion !  who  in  Thomson's  verse 

1797  Breathed  Liberty's  extatic  ardent  strain, 
Who  gave  to  Addison  a  Cato's  soul. 

To  Milton,  his  sublime  exalted  strength, 
And  to  the  inimitable  Shakespeare's  verse, 
The  genuine  stamp  of  nature,  awful,  true 
And  forceful  as  th'  impetuous  gust  of  heaven; 
Give  me  to  share  their  energy  divine : 
Give  me  to  paint,  in  ardent  numbers  bold. 

19s  What  measure  the  relation  needs 

1798  Of  heaven's  or  earth's  heroic  deeds, 
Milton  points  out,  unless  I  err; 
Though  some  a  different  verse  prefer. 

196  It  was  not  thus,  when  Milton's  voice  began 

1799  To  sing  of  Eden  lost  by  guilty  man : 
Him  on  her  wings  celestial  rapture  bore 

To  heights  which  mortal  never  reached  before : 
Heav'n's  awful  splendours  to  his  sight  display'd, 
And  all  the  horrors  of  the  infernal  shade. 


'^-Alex.  Thomson  (1763-1803).  The  Paradise  of  Taste.  In  this  allegorical 
poem,  the  author  is  conducted  to  the  Mt.  of  Sublimity.  On  the  foot-hills,  he  finds 
Young;  higher  up,  among  others,  Thomson  and  Akenside ;  on  the  very  pinnacle, 
Homer  and  Milton.     Crit.  Rev.,  Feb.,  1797,  n.  s.,  19:129-137. 

i9-''Thos.  Gisborne  (1748-1846).  Elegy  To  the  Memory  of  the  Rev.  ]Vm. 
Mason.    Chalmers,  Eng.  Poets,  18:319. 

'"••Saml.  Hull  Wilcocke.  Britannia:  a  Poem.  See  Mo.  Rev.,  Dec,  1797, 
105(24)  :4S4-457- 

"=John  Penn.  Crit..  PH..  and  Dramatic  H'ks.  Vol.  II.  See  Cr.  Rev.,  Dec, 
1798,  n.  s.,  24:475-476. 

'^'Alex.  Thomson  (1763-1803).  Pictures  of  Poetry,  &c.  Svo.  Edin.,  lygg. 
Mo.  Rev.,  Oct.,  1800,  114(33)  :'49-i53-  Has  also  splendid  verses  on  Young.  Cr. 
Rev.,  Nov.,  1799,  n.  s.,  27:260-268. 

See  Lady  Manners's  Reviezu  of  Poetry,  Anc.  and  Modern.  A  Poem.  4to. 
Booth,  //Pp.    Mo.  Rev.,  Dec,  1799,  111(30)  :390-3. 


106  THE    MILTON    TRADITION  [198 

197  Tlien  thy  mighty  ear 

1800  Thrilled  with  strange  music;  if  the  tragic  plaints 
And  sounding  lyre  of  those  Athenians  old, 

Or  more  majestic  Homer  swelled  thy  soul, 
Or  Milton's  muse  of  fire. 

198  Nor  less  delight 

1801  The  Spirit  felt,  when  still  and  charmed  I  sate 
Great  Milton's  solemn   harmonies  to  hear, 

That  swell  froiu  the  full  chord,  and  strong  and  clear, 
Beyond  the  tuneless  couplet's  weak  control. 
Their  long-commingling  diapason  roll. 
In  varied  sweetness. 

igg  Milton!  thou  shoulds't  be  living  at  this  Iiour : 

1802  England  hath  need  of  thee :  she  is  a  fen 
Of  stagnant  waters:  altar,  sword,  and  pen, 
Fireside,  the  heroic  wealth  of  hall  and  bower, 
Have  forfeited  their  ancient  English  dower 
Of  inward  happiness.     We  are  selfish  men; 
Oh  !  raise  us  up,  return  to  us  again ; 

And  give  us  manners,  virtue,  freedom,  power. 

Thy  soul  was  like  a  star  and  dwelt  apart : 

Thou  hadst  a  voice  whose  sound  was  like  the  sea : 

Pure  as  the  naked  heaven,  majestic,  free. 

So  didst  thou  travel  on  life's  common  way, 

In  cheerful  godliness :  and  yet  thy  heart 

The  lowliest  duties  on  herself  did  lay. 

200  We  must  be  free  or  die,  who  speak  the  tongue 

1802  That  Shakespeare  spake ;  the  faith  and  morals  hold 
Which  Milton  held. 

201  Come  ye — who,  not  less  zealous,  might  display 

1803  Banners  at  enmity  with  regal  sway, 

And,  like  the  Pyms  and  Miltons  of  that  day. 
Think  that  a  State  would  live  in  sounder  health 
1  f  Kingship  bowed  its  head  to  common-wealth. 


"'Richard  Mant  (1776-1848).  lincomium  On  Joseph  IVarton.  Chalmers,  Eng. 
Pts.,  18:156-7.     Highly  commended  by  the  Mo.  Rev.,  Nov.,  1801,  117(36)  :323-4- 

•o'W.  L.  Bowles.  Monody  on  the  Death  of  Dr.  IVarlon.  Poems,  vol.  II. 
Cr,  Rev.,  Aug.,  1801,  n.  s.,  32:424-429. 

lonVVm.  Wordsworth   (1770-1850).     Sonnet.     London. 

=»»Wni.  Wordsworth.    "It  Is  Not  To  lie  Thought  Of." 

soiWni.  Wordsworth.  Lines  on  the  Expected  Invasion.  Sec  also  the  Poet's 
account  of  his  becoming  intoxicate<l  drinking  lie:ilths  to  Milton,  The  Prelude. 
III.      283-321. 


199]  POETICAL    TRIBUTES    TO    MILTON  107 

202  And  thou,  sublimest  Milton,   from  whose  tongue 
1803  Flow'd  holy  inspiration,  when  beset 

With  poverty,  with  sorrow,  blame  and  scorn, 
"With  darkness  and  with  dangers  compassed  round," 
What  but  the  Muse,  thy  dreary  rooms  could  light 
With  glories  of  seraphic  brilliancy ! 

203  Again,  forsaking  mirth's  fantastic  rites, 

l8o6  The  Muse  to  follow,  through  her  nobler  flights; 

Where  Milton  paints  angelic   Iiosts  in  arms, 
And  Heaven's  wide  champaign  rings  with  dire  alarms, 
Till  'vengeful  justice  wings  its  dreadful  way. 
And  hurls  the  apostate  from  the  face  of  day. 
Immortal  Bards !  high  o'er  oblivion's  shroud 
Their  names  shall  live,  pre-eminent  and  proud. 
Who  snatched  the  keys  of  mystery  from  time. 
This  world  too  little  for  their  Muse  sublime ! 

204  Beneath  the  spreading  platan's  tent-like  shade, 
1812  Or  by  Missouri's  rushing  waters  laid, 

"Old  father  Thames"  shall  be  the  poet's  theme. 
Of  Hayley's  words  th'  enamoured  virgin  dream, 
And  Milton's  tones  the  raptured  ear  enthrall. 
Mixed  with  the  roaring  of  Niagara's  fall. 

205  With  reverence  would  we  speak  of  all  the  sages 
Nov.  Who  have  left  streaks  of  light  athwart  their  ages: 
181S            And  thou  shouldst  moralize  on  Milton's  blindness. 

And  mourn  the  fearful  dearth  of  human  kindness 
To  those  who  strove  with  the  bright  golden  wing 
Of  genius,  to  flap  away  each  sting 
Thrown  by  the  pitiless  world. 

J06  Chief  of  organic  numbers ! 

Jan.  Old  Scholar  of  the  Spheres ! 

1818  Thy  Spirit  never  slumbers. 

But  rolls  about  our  ears. 


-"-Sir.  S.  E.  Brydges  (1762-1837).  Rciircment,  a  Pll.  Fragment.  Brydges, 
Cells.  Lit.,  I  :426. 

-"^Thos.  Gent.  Prologue  To  Public  Reading.^,  At  A  Young  Gentleman's  Acad- 
emy.   Poetic  Sketches.    J.  Bcart,  Vartnouth. 

^•'■•Mrs.  Anna  L.  Barbauld   (1743-1825).    "1811."     Works,  1 -.237. 

=»5John  Keats  (1795-1821).  Ef'istlc  To  George  Pelton  Mathew.  The  Ptl. 
Wks.  (Buxton).  I  :45. 

Keats  wrote  Notes  on  Paradise  Lost  in  1819.  See  his  Poetical  Works  (Bux- 
ton), III,  pp.  19-30.  He  also  wrote  a  sonnet  To  Sleep,  over  Paradise  Lost.  Ptl. 
Wks.,  II,  p.  347. 

=o«John  Keats.  On  Seeing  A  Lock  of  Milton's  Hair.  The  Ptl.  Wks.  (Bux- 
ton), 2:249-251. 


108  THE    MILTON    TRADITION  [200 

For  ever  and  for  ever ! 

0  what  a  mad  endeavour 

Worketh  he, 
Who  to  thy  sacred  and  ennobled  hearse 
Would  offer  a  burnt  sacrifice  of  verse 

And  melody. 

How  heavenward  thou  soundest, 

Live  Temple  of  sweet  noise. 

And  discord  unconfoundest. 

Giving  delight  new  joys, 

And  Pleasure  nobler  pinions ! 

O,  Where  are  thy  dominions? 
Lend  thine  ear 

To  a  young  Delian — ay,  by  thy  soul. 

By  all  that  from  thy  mortal  lips  did  roll, 

And  by  the  kernel  of  thine  earthly  love. 

Beauty,  in  things  on  earth,  and  things  above, 
I  swear ! 

When  every  childish  fashion 

Has  vanish'd   from  my  rhyme. 

Will  I  grey-gone  in  passion, 

Leave  to  an  after-time. 

Hymning  and  harmony 

Of  thee,  and  of  thy  works,  and  of  thy  life ; 

But  vain  is  now  the  burning  and  the  strife, 

Pangs  are  in  vain,  until  I  grow  high-rife 
With  old  Philosophy. 

And  mad  with  glimpses  of  futurity  ! 

For  many  years  my  offering  must  be  hush'd ; 

When  T  do  speak,   I'll  think  upon  this  hour. 

Because  I   feel  my  forehead  hot  and  tlush'd. 

Even  at  the  simplest  vassal  of  thy  power, — 

A  lock  of  thy  bright  hair- 
Sudden  it  came. 

And  I  was  startled,  when  1  caught  thy  name 
Coupled  so  unaware ; 

Yet,  at  the  moment,  temperate  was  my  blood. 

1  thought  I  had  beheld  it  from  the  flood. 

207  (Captain)  : 

1815-  "Xewnian  is  made  of  different  clay; 

1829  He  walks  in  his  own  quiet  way; 

And  yet  beneath  that  sober  mien 

Gleams  of  a  spirit  may  be  seen. 

Which  shows  what  temper  lies  supprcst 


2<"Robert  Southey  (1-74-184.3).    Oliver  Xcn'iiiaii:  A  Nciv  England  Talc. 


201]  POETICAL    TRIBUTES   TO    MILTON  10& 

Within  his  meek  and  unambitious  breast : 

He  seemeth  surely  one  of  gentle  seed, 

Whose  sires   for  many  an  age  were  wont  to  lead 

In  courts  and  councils,  and  in  camp  to  bleed." 

Randolph  replied,  "He  rules  his  tongue  too  well 

Ever  of  those  from  whom  he  sprung  to  tell  ; 

Whatever  rank  they  once  possessed 

In  camps  and  councils,  is,  I  ween,  suppress'd 

In  prudent  silence.    Little  love  that  pair 

Could  to  the  royal  Martyr  bear, 

Be  sure,  who  named  their  offspring  Oliver. 

You  have  niark'd  that  volume,  over  which  he  seems 

To  pour  and  meditate,  like  one  who  dreams. 

Pondering  upon  the  page  with  thought  intense. 

That  nought,  which  passes  round  him,  can  from  thence 

His  fix'd  attention  move : 

He  carries  it  about  his  person  still. 

Nor  lays  it  from  him  for  a  moment's  time. 

At  my  request,  one  day,  with  no  good  will, 

He  lent  it  me:  what,  think  ye,  did  it  prove? 

A  rigmarole  of  verses  without  rhyme, 

About  the  apple,  and  the  cause  of  sin, 

By  the  blind  old  traitor  Milton !  and  within. 

Upon  the  cover,  he  had  written  thus. 

As  if  some  saintly  relic  it  had  been. 

Which  the  fond  owner  gloried  in  possessing: 

'Given  me  by  my  most  venerable  friend, 

The  author,  with  his  blessing!'" 

208  With  other  emotion 

1821  Milton's  severer  shade  I  saw.  and  in  reverence  humbled 

Gazed  on  that  soul  sublime:  of  passion  now  as  of  blindness 
Heal'd,  and  no  longer  here  to  Kings  and  to  Hierarchs  hostile. 
He  was  assoiled  from  taint  of  the  fatal  fruit :  and  in  Eden 
Not  again  to  be  lost,  consorted  and  equal  with  Angels. 

209  Most  musical  of  mourners,  weep  again  I 
1821            Lament  anew,  Urania ! — He  died. 

Who  was  the  Sire  of  an  immortal  strain. 

Blind,  old,  and  lonely,  when  his  country's  pride, 

The  priest,  the  slave,  and  the  liberticide. 

Trampled  and  mocked  with  a  loathed  rite 

Of  lust  and  blood ;  he  went  unterrified, 

Into  the  gulph  of  death,  but  his  clear  sprite 

Yet  reigns  o'er  earth ;  the  third  among  the  sons  of  light. 


-"'Robert  Southey.    A  Vision  of  Judgment. 
'""Percy  B.  Shelley  (1792-1822).    Adonais,  Stanza  iv. 


110  THE    MILTOX    TRADITION  [202 

210  Spenser  shed  over  me  his  sunny  dreams ; 
Chaucer  far  more  enchanted  me ;  the  force 
Of  Milton  was  for  boyhood  too  austere, 
Yet  often  did  I  steal  a  glance  at  Eve. 

211  And  Milton  in  the  streets  no  Taller 
Than  sparkling  easy-ambling  Waller. 
Waller  now  walks  with  rhyming  crowds ; 
While  Milton  sits  above  the  clouds, 
Above  the  stars,  his  tixt  abode, 

And  points  to  men  their  way  to  God. 

212  With  frowning  brow  o'er  pontif-kings  elate 
Stood  Dante,  great  tlie  man,  the  poet  great. 
Milton  in  might  and  majesty  surpast 

The  triple  world,  and  far  his  shade  was  cast. 
On  earth  he  sang  amid  the  Angelic  host, 
And  Paradise  to  him  was  never  lost. 

Two  mighty  men  stand  forth 
Above  the  flight  of  .A-ges,  two  alone; 
One  crying  out 

All  nations  sfokc  thro'  mc. 
The  other : 

True;  and  thro'  this  trumpet  burst 
God's  word ;  the  fall  of  Angels,  and  the  doom 
First  of  immortal,  then  of  Mortal,  Man, 
Glory!  be  Glory!  not  to  me,  to  God. 

After  reading  this  incomplete  array  of  poetic  compliment,  one  feels 
that  Milton  needs  no  further  canonizing. 

Into  the  Heaven  of  Heavens   (he  has)  presumed, 
An  earthly  guest,  and  drawn  empyreal  air. 

Beyond  his  own  supplicating  hope,  his  "fit  audience,  though  few"  has 
gradually  uuiltipliiMl  into  a  nation  of  admirers,  nay  more,  of  politic 
worshipers — for  Milton  has  been  virtually  deified.  If  he  has  not  been 
the  quickening  force  of  every  song  in  the  Eighteenth  Century,  he  has 

sioWalter  Savage  Lander  (1775-1864).  From  The  Last  Fruit  off  an  Old  Tree. 
XXXVII.    Wks.  and  Life.    1876,8:220. 

'"W.  S.  Landor.    Additional  Poems,  cxiv.    Whs.  and  Life,  1S76,  8:341. 

"=W.  S.  Landor.  Add'l  Poems,  xlii;  The  Last  Fruit,  Iv.  This  last  is  on 
Shakespeare  and  Millon.  He  has  other  beautiful  tributes.  Cf.  Collection  of  1S46, 
cxl.  and  cclxxxviii,  To  Wordsworth.  'The  Last  Fruit  off  on  Old  Tree,  ix.  To  The 
Nightingale ;  xxi.  Ode  To  Sicily.  Dry  Sticks,  vii,  Old-Fashion  I'erse.  The  IVorks 
and  Life,  1876,  pp.  326,  232,  74,  137,  202,  208,  282. 


203  J  POETICAL  TRIBUTES  TO  MILTON  111 

at  least  influenced  almost  every  singer  of  this  period.  Urania  reigns 
supreme  among  the  Muses,  and  exacts  a  tribute  from  all  to  whom  she 
grants  the  voice  of  song. 

This  tribute  must  be  paid,  whether  the  song  be  serious  and  sublime, 
or  trivial  in  the  extreme.  The  grateful  nation  breathed  a  pure  Miltonic 
air;  and  almost  every  poet  felt  himself  impelled  to  analyze  and  express 
this  all-pervading  influence.  The  chords  of  feeling  that  are  touched  in 
these  tributes  range  tlirough  the  whole  scale  of  human  emotion.  There 
is  everything  liere,  from  political  rancor  to  the  tenderest  personal  sym- 
pathies, from  the  jocose  in  tone  to  the  exaltation  of  Heaven  itself.  But 
tlie  volume  of  these  voices  harmoniously  proclaims  the  universal  and 
persistent  power  of  Milton  over  the  life  and  thought  of  the  English 
people  during  the  period  under  consideration. 

Nor  can  any  one  fail  to  feel  how  nearly  unanimous  these  tributes 
are  in  pointing  directly  to  Paradise  Lost.  Every  phase  of  Miltonic 
interest  finds  an  echo  in  these  poetical  re-actions.  Almost  every  piece  of 
Milton's  writings  finds  a  recognition,  general  at  least,  if  not  specific 
and  particular.  But  the  whole  sum  of  this  recognition  is  comparatively 
small.  Measured  by  the  emphasis  upon  Paradise  Lost,  the  other  writings 
of  Milton  seem  almost  neglected.  Even  the  large  element  of  sympathetic 
biographical  allusion  refers  almost  exclusively  to  that  portion  of  Milton's 
life  which  is  inseparabl.y  connected  with  his  Major  Poems.  In  a  word, 
these  tributes  point  mainly  to  the  Major  Poems  as  the  object  of  national 
interest  and  the  source  of  national  influence,  emphasizing  those  dis- 
tinguishing qualities  of  Milton's  Epics  that  have  placed  them  in  the 
highest  rank  of  the  world's  great  masterpieces. 


CHAPTER  IV 
The  Biographical  Treatment  op  Milton 

Biography  is  the  record  and  interpretation  of  the  facts  through 
which  a  personality  has  worked  itself  out  into  what  is  called  life.  The 
writing  of  biography  implies  the  answering  of  two  questions.  What  are 
the  facts?  and,  What  do  they  mean?  Thus  the  biographer  enables  the 
world  to  see  what  he  conceives  to  liave  been  the  things  essential  in  the 
personality  that  he  has  treated.  But  the  biographer  himself  is  not  a 
perfectl.y  transparent  mediuni  for  facts,  nor,  as  a  rule,  an  unbiased  judge 
of  their  meaning.  To  see  Milton  through  the  medium  of  Biography,  in 
the  period  under  discussion,  it  is  necessary,  therefore,  to  take  some  notice 
of  the  biographers  who  write,  of  the  facts  they  emphasize,  and  of  the 
meaning  they  impose. 

After  the  Restoration  Milton  was  delivered  from  tlie  hands  of  ven- 
geance by  Davenant  and  other  friends,  anil  lived  in  obse\irity,  in  Lon- 
don, until  the  great  fire  of  1666  drove  him  from  the  city.  He  was 
hated  by  the  court  and  Tories  in  general,  but  highly  esteemed  by  his 
rather  remarkable  circle  of  friends.  He  devoted  himself  to  regular 
habits,  and  industrious  labours  ni)on  the  gr(>at  jioem,  whieli  apjieaivd  in 
1667.  Jlilton  was  always  famous,  or  infamous,  aceonling  to  the  temper 
of  his  judges;  and,  if  Aubrey  may  be  trusted,  the  aged  poet  was  even 
wearied  by  the  multitude  of  liis  visitors.  But  after  all  is  said  that  is 
favorable  to  his  condition,  still  Milton  was  poor,  blind,  in  obscurity,  and 
comparatively  ncglceted,  while  tlie  King  and  his  court  disgraced  them- 
selves and  the  nation  in  their  revelries  and  sin.  The  contrast  was  sharp ; 
and  the  memories  of  these  facts  fell  as  a  sore  affliction  upon  the  Miltou- 
loving  England  of  a  century  later. 

During  these  years,  it  was  the  enemies  of  Milton,  and  not  his 
friends,  that  spoke  loud  enough  to  be  heard  at  the  distance  of  two 
centuries.  David  Masson,  in  his  exhaustive  Ilistori/  of  Milton  aud  His 
Time  (636n),  has  summarized  the  biographical  allusions  to  Milton 
before  the  jjublication  of  Paradise  Lost.  Those  in  Healli's  Chronicle 
(166.S),  South's  S(rmons,  and  Ilacket's  JAfc  of  Archlmhop  Williams 
(written  1661-70,  published  1692),  all  describe  Milton  in  terms  of  viru- 
](>nt  political  hatred,  and  regret  that  he  was  not  hang(>d.     Two  other 


205]  THE  BIOGEAPHICjUj  treatment  op    MILTON  113 

allusions  are  cited  as  more  respectful.  One  of  them  is  from  Hobbes, 
whom  Milton  dislikeil  for  theological  reasons  but  esteemed  as  a  man  of 
great  parts.  Hobbes,  therefore,  returned  this  feeling  of  Milton  in  that 
allusion  of  the  Behemoth,  which  has  more  of  respect  than  sympathy. 
The  otlier  allusion  was  bj'  Samuel  Butler,  who  was  in  sympathy  neither 
with  Milton,  nor  with  the  immorality  of  the  Restoration  (Trib.  5). 

Naturally,  real  biographical  interest  in  Milton  did  not  become  active 
until  after  his  death  (1674).  But  almost  immediately  after  that  event, 
there  was  considerable  interest  in  this  direction.  Among  the  first  efforts 
of  this  kind  wei'e  those  of  John  Aubrey  (1626-1697),  who  collected  ma- 
terial for  a  formal  Life  of  Milton.  But  this  collection  of  Notes  never  got 
beyond  a  very  amorphous  outline  stage.  He  gave  a  list  of  Milton's  works, 
and  added  a  note  of  praise  upon  the  Panegyricks  on  Cromwell  and 
Fairfax.  Of  Milton  himself,  Aubrey  said,  "Whatever  he  wrote  against 
monarchic  was  out  of  no  animosity  to  the  king's  person,  or  out  of  any 
faction  or  interest,  but  out  of  a  pure  zeale  to  the  liberty  of  mankind, 
which  he  thought  would  be  greater  under  a  free  state  than  a  monarchiall 
government. ' '' 

Aubrey  was  a  friend  of  Milton,  and  the  modern  reader  deeply 
regrets  that  this  sketchy  outline  was  never  worked  out  into  a  full  account 
of  the  great  poet  from  first  hand  knowledge.  The  Life  was  not  written, 
nor  did  the  Notes  get  into  print  until  long  after  that  time.  Instead, 
they  were  placed  in  the  Ashmolean  Miiseum,  whence  the  manuscript 
was  taken  by  William  Godwin,  for  his  Lives  of  John  and  Edward 
Phillips  (1809).  The  Notes  were,  however,  promised  (Jan.,  1675)  to 
Anthony  A.  Wood  for  his  Athenae  et  Fasti  Oxoniensis.  In  May  of  that 
year,  Aubrey  also  assured  Wood  that  "Mr.  Marvell  has  promised  me 
to  write  minutes  for  you  of  Mr.  John  Milton."  But  these  minutes  seem 
never  to  have  been  written. - 

The  first  Life  of  Milton  was  written  by  a  hand  now  unknown,  and 
apparently  incapable  of  being  found  out  with  any  considerable  degree 
of  certainty.  The  manuscript  was  discovered  by  the  Rev.  Andrew 
Clark,  LL.D.,  in  1889,  among  the  papers  of  Anthony  A.  Wood,  in  the 
Bodleian  Library.  Mr.  E.  S.  Parsons,  who  has  given  an  interesting  dis- 
cussion of  this  Life,  together  with  the  text  itself,  in  the  English  Historical 
Review,^  was  not  able  to  determine  the  author.  He  believed  the  MS. 
to  be  in  the  author's  own  handwriting,  which  Mr.  Parsons  was  unable  to 
identify  with  that  of  any  one  of  Milton's  friends  who  might  have  been 
supposed  to  write  such  an  account  of  the  poet.     If  the  manuscript  was 

^A.  Clark.     Aubrey's  Brief  Lives,  1669-1696.     2  vols.     Oxford,  1898.     "Milton," 
vol.  II.  pp.  60-70. 

=David  Masson,  Life  of  Milton,  6  -.778.     Br.  Mus.  Cat.  "William  Godwin." 
'Jan.,  1902,  17:95-110. 


114  THE    MILTON    TRADITION  [206 

corrected,  or  transcribeil  by  another  hand  than  that  of  the  author, 
Mr.  Parsons  believed  that  the  Life  was  probably  the  work  of  Dr.  Nathan 
Paget  (1615-1679),  the  close  personal  friend  and  physician  of  Milton.* 
If  this  conjecture  be  true,  the  Life  was  written  within  five  years  of  the 
great  poet's  death  (1674)  ;  and,  in  any  case,  it  was  written  before  1691, 
for  it  was  one  of  the  obvious  sources  of  Wood's  Fasti  in  that  year. 

This  earliest  biographer  of  ililton  wrote  from  a  full  heart  of  per- 
sonal sympathy  with  the  great  politician  and  poet.  The  author's  out- 
look upon  life  seems  to  have  been  from  Milton's  point  of  view,  and  the 
emphasis  upon  the  moral  and  tlie  religious  side  of  the  poet's  life  indicated 
intimate  personal  relations.  The  biographer  even  held  it  highly  improb- 
able that  one  of  such  exalted  morality  could  easily  err  in  matters  of  re- 
ligious doctrine.  Tlie  writer  developed  the  setting  of  the  several  pieces  of 
Milton's  prose  writings  in  a  manner  tliat  was  favorable  to  the  great 
author.  This  Life  gave  no  hint  of  the  iMinor  Poems,  an  indication  that  the 
work  was  independent  of,  if  not  prior  to,  Aubrey's  Notes,  who  mentions 
those  poems  as  twice  printed  (i.e.  1645,  1673).  This  friend  of  Milton 
did,  liowever,  mention,  with  some  emphasis.  Paradise  Lost.  Paradise 
Regained,  and  Samson  Agonistes.  and  paused  to  affirm  tliat  the  first 
and  second  of  these  "more  especially  taught  all  virtue." 

But  this  friendl.y  activity  was  rather  exceptional  in  the  field  of  early 
Milton  biograi)hy.  Milton's  promiiienee  in  the  Commonwealth,  and  his 
celebrity  as  a  writer  in  defence  of  tliat  movenu'iit,  made  him  an  object 
of  especial  detestation  in  the  earl,y  days  of  the  Restoration.  It  was  tlien 
customary  to  try  for  court  favour  by  vilifying  the  Puritans.  Milton 
was  tlierefore  a  man  iinieh  written  against  for  .several  decades  after  the 
Restoration. 

The  very  atmosphere  of  tlie  English  court  was  one  of  political  ani- 
mosit}'.  By  none  was  this  more  deeply  breathed  than  by  William 
Win.stanley' (1628-1698).  In  1687  he  published  his  Lives  of  the  Most 
Famous  English  Poets,  a  work  in  which  he  won  for  himself  a  notorious 
immortality,  by  venting  his  s])l(>en  against  Milton,  in  the  following  pas- 
sage, apparently  designed  bs   tale  for  easy  quotation: 

"John  Milton  was  one  whose  natural  parts  might  deservedly  give  him  a  place 
amongst  the  principal  of  our  English  poets,  having  written  two  heroic  poems  and 
a  tragedy,  namely  Paradise  Lost,  Paradise  Regained,  and  Samson  Agonistes.  But 
his  fame  has  gone  out  like  a  candle  in  a  snuff,  and  his  memory  will  always  stink, 
which   might  have   ever  lived   in   honorahle   repute,   had   he   not   hecii   a  notorious 

«Dict.  Natl.  Biog.    "Paget."    Masson,  Life  of  Milton,  iv,  151. 


207  I  THE   BlOCiRAPHICAL   TREATMENT  OF    MILTON  115 

tr;utur  aiul  most  inipiimsly  and  villainously  bcly'd  that  blessed  martyr  'Charles  the 
First.'  "■"■ 

The  "Account  of  Milton,"  given  by  Anthony  A.  Wood  (1632-1695), 
ill  his  Athenae  Oxoniensis  ct  Fasti,  was  little  more  sympathetic  than 
that  of  Wiiistanley.  Wood  drew  his  facts  largely  from  the  anony- 
mous Life  and  Aubrey's  notes,  and  his  spirit  of  virulence  from  the 
common  animosity  of  Toryism.  Wood's  biographical  sense  of  values 
seems  to  have  obliged  liiin  to  recognize  Milton's  greatness  and  potential 
goodness,  but  the  ' '  Account ' '  showed  no  sympathy  with  the  career  of  the 
great  politician  and  poet.  Wood  felt  that  all  of  Milton's  exalted  powers 
were  either  prostituted  or  misapplied. 

In  his  "Account  of  Edward  Phillips,"  Wood  styled  Milton  "the 
ilefender  of  the  murder  of  King  Charles  I."  Wood  was  even  more  severe 
in  saying  that  "John  Phillips  early  imbib'd  the  rankest  antimonarchial 
principles  from  that  villainous  leading  incendiary  John  Milton, his  uncle." 
In  the  more  formal  account  of  the  poet,  Wood  found  Milton  "at  length 
arrived  to  that  monstrous  and  unparalleled  height  of  profligate  impu- 
dence, as  in  print  to  justify  the  most  execrable  murder  of  him  the  best  of 
kings, — afterwards  being  made  Latin  Secretary  to  the  Parliament,  we 
find  him  a  commonwealth's  man." 

With  Milton's  poetry  Wood  seems  to  have  had  little  concern.  He 
did  comment,  somewhat  indifferently,  upon  Milton's  studious  habits  in 
College,  and  added  that  he  "wrote  then  several  poems."  Beyond  this 
comment,  Wood  mentioned  the  1673  edition  of  the  Minor  Poems,  and 
the  Major  Poems,  only  as  so  many  historical  facts."* 

Naturally  Gerard  Langbaine  (1656-1692),  in  his  Account  of  the 
Dramatic  Poets  (1691),  gave  more  attention  to  Comus  and  Samson 
Agonistes  than  to  any  other  of  Milton's  poems.  In  his  biographical 
sketch  of  the  poet,  however,  Langbaine  expressed  the  usual  antipathy 
toward  Milton  the  politician.  He  mentioned  by  name  several  of  the 
undramatic  poems  and  prose  pieces  of  Milton ;  but  confessed  that  he 
knew  little  about  the  poems,  and  proved  his  ignorance  most  convineinglj' 
in  his  misstatements  of  obvious  facts.  lie  regretted  that  Milton's 
principles  were  not  as  good  as  his  parts;  for  then  "he  had  been  an  excel- 
lent person ;  but  his  demerit  towards  his  Sovereign  has  very  much  sullied 
his  Reputation."  This  comment  of  Langbaine  was  changed,  in  a  later 
edition  of  the  Dramatic  Poets  (1699),  edited  by  Charles  Gildon,  to  read 

'•This  work  of  Winstanley  was  not  unread  in  the  eighteenth  century.  The 
British  Museum  copy  (C.  45,  d.  13)  has  MS.  notes  by  Bishop  Percy.  David 
Lloyd,  Canon  of  St.  Asaph,  selected  from  it  certain  "Lives"  for  his  State  Worthies 
(1766). 

"Ath.  Oxoii.  ct  Fasti.  Edited  by  Philip  Bliss.  4  zrols.  London,  1S20.  "Edw. 
Pliillips,"  4:760-769.  "Milton,"  2:480-486.  These  accounts  were  written  about 
1691-2.    The  Fasti  was  added  to  the  Ath.  O.ron.,  in  the  edition  of  1721. 


116  THE    MILTON    TRADITION  [208 

as  follows:  Miltoii  was  "an  author  of  that  excellence  of  genius  and 
learning,  that  none  of  any  age  or  nation,  1  think,  has  exeel'd  him.'" 
This  change  was  due  largely  to  the  dift'erence  in  literary  temperament 
between  Langbaine  and  Gildon,  but  it  indicated  a  change  of  emphasis 
whicli  began  to  assert  itself  during  the  last  decade  of  the  century.  Mil- 
ton the  poet  began  to  emerge  above  the  confusion  of  political  strife. 

This  distinction  between  Milton  as  politician  and  as  poet  was  sharply 
drawn  by  Addison,  in  his  poetical  Account  of  ]\Iilton  (1694,  Trib,  21), 
and  by  Yalden,  when  Milton's  Prose  was  published  with  his  poems  (1698, 
Trib.  23).  In  the  same  j-ear  that  Addison's  Account  appeared  (1694), 
Sir  Thomas  Pope  Blount  (1649-1697)  published  his  Dc  Re  Poctica,  which, 
in  many  references,  considered  Milton  mainly  as  a  poet.  The  second 
Part,  called  Characters  and  Ce)isures.  devoted  four  pages  to  "John 
Milton,"  basing  the  criticism  almost  entirely  ui)on  Paradise  Lost,  Para- 
dise Regained,  and  Samson  Agonistes,  thougli  Milton  was  allowed  to  have 
international  fame  from  "his  other  (prose?)  works,  both  Latin  and 
English.* 

In  this  same  year  (1694)  a  new  dei)arture  appeared  in  the  biography 
of  Milton.  That  was  the  publication  of  his  Life  with  his  Letters  of 
State,  edited  by  his  nephew  Edward  Phillips  (1630-1696?).  This  Life 
was  intended  to  be  a  sort  of  introduction  to  the  Letters,  and  naturall.v 
laid  special  emphasis  upon  the  political  side  of  Milton's  career.  Phillips 
printed  in  this  Life  four  of  the  Sonnets,  closely  connected  with  Milton's 
political  activities — those  To  Cromwell,  Fairfax,  Vane,  and  To  Skinner 
upon  his  Blindness.  The  biographer  showetl  himself  familiar  with  all 
the  Minor  Poems,  but  singled  out  Lticitias  alone  for  special  mention. 
He  devoted  considerable  attention  to  the  common  view,  tliat  J'aradise 
Regained  was  "generally  censured  to  be  much  inferior  to  the  other," 
and  was  the  authority  for  Milton's  impatient  fondness  for  this  younger 
offspring  of  his  Muse."  This  Life  was,  of  course,  sympathetic,  and  became 
even  more  valuable  to  later  biographers  of  Milton. 

The  new  plan  of  furiushing  a  biograpliical  introduction  to  Milton's 
Works  was  followed  by  John  Toland  (1670-1722),  who  i)repared  a  new 
Life  of  Milton  for  his  edition  of  the  Prose  Works  (1698).  This  lAfc 
was  printed  .separatelx-  the  next  year,  at  whicli  time  Amyntor;  or  A 
Defence  of  Milton's  Life  also  appeared  from  the  same  pen.  The  neces- 
sity for  this  latter  work,  Toland   regarded  with  a  measure  of  surprise. 

'.-}»  Acct.  of  the  lln<i.  Drci.  Poets.  Oxford,  1091,  pp.  3TS-X77-  Tlicre  seems  to 
have  been  an  edition  of  this  work  in  1696.  It  was  reissued,  ,nnd  brought  down  to 
date,  in  1699,  by  Gildon  (B.  M.  Cat.),  who  is  accredited  with  the  ;\(Ulilion  of  18.; 
pages.     The  work  was  repuliMslied  liy  Mayliew,  l",Si. 

*De  Re  Poclica  (1694),  pp.  1.3.^-1,38. 

"Li/f  of  Milton  (1694),  p.  xxxix. 


209]  THE  BIOGRAPHICAL  TREATMENT  OF    MILTON  117 

Wlien  I  undertook,"  he  said,  "to  write  the  Life  of  the  most  cele- 
brated Milton,  I  was  far  from  imagining  that  I  should  ever  be  obliged  to 
make  an  apology  in  justification  of  such  a  work,  both  harmless  in  itself, 
and  greatly  desired  b.y  the  world."" 

Toland  was  a  liberal  in  philosophical  and  religious  thought,  and  a 
liberal  in  polities.  His  treatment  of  Milton  partook  of  the  same  general 
spirit.  Naturally,  he  was  sympathetic  with  some  of  Milton's  radical 
views  in  his  Prose  Works,  whicli  Toland  seems  to  have  edited,  as  he 
thought,  in  the  interest  of  truth  and  progress.  He  exalted  Paradise 
Lost,  and  showed  some  just  appreciation  of  other  poems.  Like  most  of 
the  other  biographers,  Toland  selected  Lycidas  and  Camus  for  special 
comment.  Lycidas  he  regarded  "one  of  the  finest  Milton  ever  wrote" 
(p.  132).  He  said  that  Milton  made  good  his  early  ambition  "in  his 
inimitable  poem  of  Paradise  Lost,  and  before  this  time  in  his  Comus, 
like  which  piece  in  the  peculiar  disposition  of  his  story,  the  sweetness  of 
the  numbers,  the  justness  of  the  expression,  and  the  moral  it  teaches, 
there  is  nothing  extant  in  any  language"  (p.  36).  Otherwise,  however,  he 
treated  the  Minor  Poems  only  as  a  group  of  juvenile  performances.^' 

^"Ainyiitor,  ed.  1761,  p.  156.  The  occasion  which  called  forth  this  Defence, 
was  a  mixture  of  malice,  politics,  and  religion.  In  the  Life  Toland  had  argued 
that  Gauden,  and  not  Charles  I,  was  the  author  of  Icon  Basilike,  and  had  said 
that,  as  men  were  mistaken  about  this,  so  they  might  be  mistaken  about  the 
authenticity  of  some  of  the  early  Christian  writings.  Toland  denied  any  allusion 
to  the  New  Testament  Canon.  But  the  church  regarded  this  suggestion  as  a  deis- 
tical  challenge:  and  an  obscure  rector,  Offspring  Blackall  (1654-1716),  offered 
acceptance.  The  controversy  brought  Blackall  into  notice,  won  for  him  the  Boyle 
Lectureship  at  St.  Paul's  (1700),  and  paved  his  way  to  the  bishopric  and  arch- 
deaconry of  Exeter  (D.  N.  B.). 

In  Amyntor,  Part  III,  Toland  gave  the  history  of  Icon  Basilike,  in  proof  of 
the  Gauden's  authorship.  This  argument  provoked  three  rejoinders  in  the  same 
year  (1699).  (i)  A  Defence  of  the  Vindication  of  King  Charles  I,  in  Answer  to 
a  late  t^amphlet  intituled  Amyntor:  (2)  Remarks  on  the  Life  of  Mr.  Milton,  as 
Published  by  J.  T.  Jl'ith  a  Character  of  the  Author  and  his  Party.  In  a  Letter 
to  a  Member  of  Parliament  (Post  Boy,  Jan.  3-5.  1699); — and  (3)  Some  Reflec- 
tions on  that  Part  of  a  Book  called  Amyntor  .  .  .  which  relates  to  the  Writings  of 
the  Primitive  Fathers,  and  the  Canon  of  the  New  Testament.  Most  of  the  viru- 
lence of  these  writings  was,  however,  more  against  Toland,  than  against  Milton. 
In  1738,  Thomas  Birch  set  forth  both  sides  of  the  original  question  of  the  Gauden 
authorship,  and  left  it  for  impartial  judges  to  decide  the  question  upon  its  merits. 
Complete  Prose  Works  of  Milton  (1738).    Vol.  I,  pp.  Ixiv-xcvii. 

'^This  Life  of  Milton,  together  witli  Amyntor,  was  republished  by  Thomas 
HoUis  (1720-1774),  in  1761.  Mollis  was  an  enthusiastic  student  of  Milton,  and 
believed  him  to  be  the  greatest  champion  of  liberty.  This  same  year  he  bought 
the  bed  on  which  Milton  died,  and  presented  it  (June  12,  1761)  to  Akenside, 
requesting  him  to  celebrate  Milton  as  "the  assertor  of  British  liberty"  in  an  Ode. 


118  THE    MILTON    TRADITION  [210 

Toland's  observation  above  was,  perhaps,  the  first  biographieal  iudicatiou 
of  the  genius  of  Paradise  Lost  in  the  earlier  poetry. 

It  may  have  been  that  the  hibours  of  Phillips  and  Toland  inspired, 
or  at  least  aroused,  the  historian  Gilbert  Burnet  (1643-1715)  to  write 
the  following  passages  in  his  A  History  of  Mij  Own  Time.  The  work  was 
written  soon  after  the  year  1700,  but  was  not  published  until  after 
the  author's  death.  Tiie  first  volume  appeared  in  1723,  and  was 
well  received;  but  the  second  volume  (1734)  was  not  so  much  ap- 
plauded. Burnet  seems  to  have  had  little  sympathy  with  the  Com- 
monwealth movement,  and  yet  felt  himself  constrained  to  admire 
the  genius  of  I\Iilton  as  revealed  in  Paradise  Lost.  Few  writers,  at 
any  time,  have  mirrored  more  faithfidly  the  national  feeling  respecting 
Milton,  than  this  single  paragraph  has  done  at  the  opening  of  the 
Eighteentii  Century.  There  one  may  see  the  deepest  hatred  of  Milton 
as  a  politician,  which  was  still  powerful  among  the  royalists.  There  is 
also  an  evident  interest  in  the  traditions  of  Milton's  somewhat  mysterious 
personal  history  after  tiie  Restoration.  There  is  further  a  sort  of  irre- 
sistible national  pride  which,  in  spite  of  all  political  i)rejudiees,  has  crept 
in,  with  its  leavening  power,  to  season  his  praise  of  him  who  had  hon- 
oured the  nation  in  the  excellence  of  Paradise  Lost. 

"John  Goodwin  ;ind  Milton  did  also  escape  all  censure,  to  tlie  scandal  of  all 
people. — Milton  had  appeared  so  holdly.  though  with  much  wit,  and  great  purity 
and  elegancy  of  his  Latin  style,  against  .Salniasius  and  others,  upon  that  argu- 
ment, and  had  discovered  so  virulent  a  malice  against  the  late  king  and  all  the  fam- 
ily, and  against  monarchy,  that  it  was  a  strange  omission  if  he  was  forgot,  and 
an  odd  strain  of  clemency  if  it  was  intended  he  should  be  forgotten;  but  he  was 
not  excepted  out  of  the  act  of  indemnity.  .\nd  afterwards  he  came  out  of  his 
concealment,  and  lived  many  years,  much  visited  by  all  strangers,  and  much 
admired  by  all  at  home  for  the  poems  he  writ,  though  he  was  tlien  blind ;  chiefly 
that  of  Paradise  Lost,  in  which  there  is  a  nobleness  both  of  contrivance  and 
execution,  that,  though  he  affected  to  write  in  blank  verse  without  rithni,  and 
made  many  new  and  rough  words,  yet  it  was  esteemed  the  beaut  if  vilest  and 
perfectest  poem  that  ever  was  writ,  at  least  in  our  language."' - 

While  the  quotation  from  Burnet  reveals  the  national   feeling  for 
Milton,  the  following  statement  from  A  Complete  History  of  Europe 

Akcnside  accepted  the  gift,  and  is  said  to  liave  died  in  this  bed,  but  he  never  wrote 
the  Ode.  The  ardor  of  Mollis  was,  however,  in  no  wise  abated.  When  his 
edition  of  Toland's  Life  &c  came  out,  he  sent  copies  of  it  with  "Milton's  Prose 
Works  as  presents  to  many  private  persons,  both  at  home  and  abroad,  and  to  a 
considerable  number  of  public  libraries  in  foreign  countries."  (Cr.  Rev.,  Sept., 
1781,   52:161-175.) 

'=//  History  of  My  O-vii  Tim,-,  cd.  Osmond  .liry.  .'  '.■ols.  Oxford.  1^97. 
Vol.  I,  pp.  283-284.  Cf.  I,  pp.  xxvii,  xxxi.  This  work  seems  to  have  appeared  in 
French   (i73S). 


211]  THE  BIOGRAPHICAL   TREATMENT  OF    MILTON  119 

(1705)  indicates  the  feeling  for  Milton  as  a  character  of  international 
interest  and  importance.  "There  is  hardly  anything,"  said  the  his- 
torian, "that  can  make  this  year  (1674)  more  remarkable  than  the  death 
of  John  Milton — He  has  left  us  an  inimitable  poem  in  his  blank  verse, 
called  Paradise  Lost.'"'-'  Bishop  White  Kennet,  D.D.,  (1660-1728),  who 
utilized  Milton's  History  (1670)  in  his  own  Compleat  History  of  Eng- 
land (1706),  naturally  assumed  a  favourable  attitude  toward  Milton 
whenever  there  was  opportunity." 

No  account  of  ^lilton  as  seen  through  the  eyes  of  the  early  Eighteenth 
Century  would  be  complete  without  some  mention  of  Thomas  Ellwood 
(1639-1713),  whose  History  of  himself  by  his  own  hand,  was  published 
(1714).  Ellwood  was  a  Quaker,  who  had  received  a  favorable  introduc- 
tion to  Milton,  and  became  a  pupil,  friend,  and  assistant  to  the  great 
poet  in  his  blindness.  Ellwood,  in  his  direct  Quaker  fashion,  tells  a 
delightful  story  of  his  reading  to  the  poet,  learning  from  the  great 
master  the  Latin  tongue,  helping  him  to  escape  to  Chalfont  St.  Giles  from 
the  plague  in  London,  of  his  own  freedom  and  personal  intimacy  with  the 
poet  and  in  his  home,  and,  with  much  pride,  of  his  own  suggestion  that 
led  to  the  writing  of  Paradise  Regained.  Evei'y  one  reads  this  well-told 
Story  with  a  sense  of  regret  that  the  few  pages  are  not  greatly  mul- 
tiplied.'" 

The  next  two  biographical  treatments  of  Milton,  both  short  and 
unimportant,  were  by  Giles  Jacob  (1686-1744),  and  appeared  in  The 
Poetical  Register  (vol.  I,  1719,  and  II,  1720)."  Both  accounts  were 
sympathetic.  The  first  volume  was  devoted  to  "The  English  Dramatic 
Poets,"  and  the  second  to  "Our  Most  Considerable  English  Poets."  The 
first  account  is  a  very  brief  sketch,  which  mentioned  Comus  and  Sam- 
son, dating  the  latter  1682,  and  commenting  on  Milton's  imitation  of  the 
Greek  models.  The  writer  said,  that  "this  author  has  made  himself 
Immortal    by  his  Poem   called   Paradise   Lost,"  and   quoted   Dryden's 

I'Quoted  by  Mr.  Havens. 

'^Bishop  White  Kennet.  D.D.  (1660-1728).  A  Complete  History  of  England, 
with  the  Lives  of  all  the  Kings  and  Queens  thereof,  from  the  earliest  Time  to  the 
Death  of  William  III.  I/06.  s  vol.  Fol.  The  2nd  ed.  enlarged  and  corrected. 
3  vols.     Fol.     1719.     The  Notes  are  by  J(ohn)   S(trype). 

^^The  History  of  the  Life  of  Thomas  Elkvood,  by  his  own  Hand.  ed.  C.  C. 
Crump.  Putnam's,  N.  Y.,  1900,  pp.  88ff.,  144-145,  An  Extract  on  these  Relations 
with  John  Milton,  is  given  in  An  Eng.  Garner,  Crit.  Essays  and  Lit.  Fragments, 
by  J.  C.  Collins,  vol.  7,  135-148. 

The  autobiographical  part  of  this  History  stopped  at  1683,  from  which  point 
it  was  continued  to  Ellwood's  death,  by  J(oseph)  VV(yeth).  There  was  a  2nd 
ed.  in   1714,  3rd  1765,  4th   1791.  5th  1825,  6th   1855. 

'"The  Poetical  Register.     Vol.  I   (1719).  183-4;  II   (1720),  160-6. 


120  THE    HILTON    TRADITION  [212 

Epigram  (Ti-ib.  16)  as  "finely  drawn."  Tlie  second  account  was  longer. 
The  author  drew  his  facts  largely  from  Wood,  quoted  fifty-four  lines  of 
Paradise  Lost  (III)  on  Milton's  blindness,''  and  took  his  critical  esti- 
mates from  Dryden,  and  (without  acknowledgments)  from  The  Athenian 
Mercury.'^ 

Among  the  most  popular  accounts  of  Milton  ever  written  was  the 
brief  Life  of  Milton,  by  Elijah  Fenton  (1683-1730),  written  hurriedly 
in  the  summer  of  1725,  published  with  Paradise  Lost  in  that  year,  and 
revised  into  its  permanent  form  early  in  1726.'"  The  secret  of  this 
popularit}'  was  stated  by  Dr.  Johnson,  in  his  Life  of  Fenton.  "To  this 
edition  (1725),"  said  the  Doctor,  "  (Fenton)  prefixed  a  short  and  elegant 
account  of  Milton's  Life,  written  at  once  with  tenderness  and  integ- 
rity."-" 

Fenton  was  rather  conservative,  than  radical,  in  matters  of  religion 
and  politics.  He  could  not  approve  the  political  career  of  IMilton,  but 
prudently  praised  what  he  could  in  the  man,  and  drew  the  veil  of  ob- 
livion over  what  he  could  not  praise.  Fenton  wondered,  as  did  Newton 
later,  tliat  Milton's  "daring"  spirit  had  not  led  him  into  the  ranks  of 
the  army ;  but  supposed  the  restraint  to  have  come  from  respect  to 
parental  authority  (xi).  The  author  seems  to  have  defined  the  political 
side  of  his  feelings  in  the  following  sentences: 

"Far  be  it  from  me  to  defend  his  engaging  with  a  Party  combin'd  in  the 
destruction  of  our  Church  and  Monarchy.  Yet,  leaving  the  justification  of  a  mis- 
gtiidcd  sincerity  to  be  debated  in  the  Schools,  may  I  presume  to  observe  in  his 
favor,  that  his  zeal,  distempered  and   furious  as  it  was,  does  not  appear  to  have 

"Appendi.K   B. 

'"The  Ath.  Mercury,  Jan.  i6,  1691.    Chap,  v,  Note  13,  below. 
^^Letter  of  t-'entoii  to  Broome,  Jan,  13   (1726).     Pope's  works  (Elwin  &•  C), 
viii,   p.    112. 


e  Li 

/(•  appea 

red 

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P.  L. 

as  foil 

ows 

(Chap. 

11, 

sect,  i; 

1  : 

28 

1725 

36 

1730 

55 

1753 

95 

1776 

2g 

1727 

37 

1741 

58 

I7S4 

96 

1777 

30 

1727 

41 

1-46 

69 

1 761 

103 

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1795 

French     1729 
17.53 
In   the  nineteenth   century.   Fenlon's   Life  appeared   in   1802,   1804,    1806,    1808, 
t8i2,  1813,  1816,  1817,  1818,  1820.  1821,  18.W?,  18.3.3,  1855.     (Brit.  IMus.  Cat.  "Fenton"). 
Ed.  1727  used  in  this  work. 

^"Life  of  Fenton.     (Hill).     11,261. 


213]  THE  BIOGRAPHICAL   TREATMENT  OF    MILTON  121 

been  inspirited  by  self-interested  views."  Fenton  felt  that  "a  full  protection  from 
the  Government  .  .  .  was  in  truth  more  than  he  could  have  reasonably  hop'd" 
(xvii). 

Fenton  had,  however,  a  boundless  admiration  for  Milton  the 
poet,  whom  he  loved  and  studied  assiduously.  Fenton  was  the  first 
biographer  to  devote  a  formal  section  of  the  Life,  of  Milton  to  a  critical 
discussion  of  his  poetry.  "We  come  now,"  said  Fenton  in  the  introduc- 
tion of  this  section,  "to  take  a  survey  of  him  in  that  point  of  view,  in 
which  He  will  be  look'd  on  by  all  succeeding  ages  with  equal  delight, 
and  admiration"  (xviii).  He  mentioned  Comus,  L' Allegro,  II  Penseroso, 
and  Lycidns  as  sufficient,  "though  He  had  left  no  other  monuments  of 
his  Genius, ' '  to  render  Milton 's  ' '  name  ....  immortal. ' '  Fenton  devoted 
some  attention  to  Milton's  early  purpose  to  write  a  heroic  poem,  and 
then  turned  his  pen  directly  to  the  praise  of  Paradise  Lost. 

"In  the  year  1667  he  published  his  Paradise  Lost;  the  noblest  Poem,  next  to 
those  of  Homer  and  Virgil,  that  ever  the  wit  of  man  produced  in  any  age  or  nation. 
Need  I  mention  any  other  evidence  of  its  inestimable  worth,  than  that  the  finest 
Geniuses  who  have  succeeded  him  have  ever  esteemed  it  a  merit  to  relish,  and 
illustrate,  its  beauties?  Whilst  the  Critic  who  gazed,  with  so  much  wanton 
malice,  on  the  nakedness  of  Shakespear  when  he  slept,  after  having  formally 
declared  war  against  it,  wanted  courage  to  make  his  attack :  .  .  .  .  Nor  is  it 
unworthy  our  observation,  that  thougli.  perhaps,  no  One  of  our  English  Poets  hath 
excited  so  many  admirers  to  imitate  his  Manner,  yet  I  think  never  any  was  known 
to  aspire  to  emulation  :  even  the  late  ingenious  Mr.  Philips,  who,  in  the  colors  of 
style  came  the  nearest  of  all  the  Copiers  to  resemble  the  great  Original,  made  his 
distant  advances  with  a  filial  reverence ;  and  restrained  his  ambition  within  the 
same  bounds  which  Lucretius  prescribed  to  his  own  imitations"   (xix-xx). 

Fenton  devoted  about  seven  pages,  or  one-fourth  of  the  entire  Life, 
to  Paradise  Lost.  He  observed  some  of  the  biographical  elements  in  the 
Epic,  dwelt  upon  the  difficulties  of  Milton  in  having  "This  Divine  Poem 
licens'd  for  the  Press,"  and  spoke  with  a  sense  of  national  shame  of  the 
"Fifteen  Pounds"  received  for  the  original  copy  (xx-xxi).  He  allowed 
that  Milton  had  faults,  even  poetical  faults,  as  was  evident  in  the 
"falling-off"  in  Paradise  Regained.  But  "not  to  have  had  some  faults, 
and  misfortunes,  to  be  laid  in  the  balance  with  the  fame,  and  felicity 
of  Writing  Paradise  Lost,  wou'd  have  been  too  great  a  portion  for 
humanity"  (xxv). 

Soon  after  the  popular  Life  by  Fenton,  biographical  and  historical 
accounts  of  Milton  began  to  multiply  very  rapidly.  This  multiplication 
went  hand  in  hand  with  the  widening  interest  in  Milton,  sometimes 
as  cause,  sometimes  as  effect.  Paradise  Lost  was  defended  and  explained, 
as  will  appear  in  Chapter  VI  below.  The  Minor  Poems  were  brought 
into  prominence,  and  the  Prose  Writings  began  to  be  made  popular. 
These  growing  interests,  because  of  the  occasional  character  of  most  of 


122  THE    MILTdX    TRADITION  [214 

Milton "s  writings,  demanded  larger  acquaintance  with  liim,  and,  in 
turn,  stimulated  a  popular  thirst  to  know  more  of  the  great  poet- 
politician.  Moreover,  his  embodiment  of  a  great  historical  movement 
whicli  appeared  to  many  at  this  time  to  furuisli  hope  against  national 
despondency,  stimulated  interest  in  tlie  poet's  career.  It  was,  on  the 
whole,  a  time  wlien  the  deepening  influence  of  ]\Iilton  was  turning  the 
nation  toward  himself.  He  was,  therefore,  a  man  who  was,  in  a  double 
sense  of  the  word,  much  "written-up"  during  the  period  that  followed 
1730. 

Most  of  these  accounts  of  ]\Iilton  were  favorable,  if  not  aggressively 
sympathetic."'  Those  who  could  not  sanction  all  of  his  political  and 
religious  views  were  restrained,  by  the  exalted  influence  of  Paradise  Lost, 
from  doing  violence  to  the  autlior  of  tliat  divine  poem.  Points  of  praise 
were  sought  out  and  emiihasized,  unpleasant  matters  were  either  omitted 
altogetlier,  or  dispassionately  narrated,  and  offensive  results  were 
studiously  avoided.  These  principles  of  narration  all  appear  in  the  fol- 
lowing notices  of  Milton,  taken  from  The  History  of  the  Piiritaus  (1733), 
by  Daniel  Neal  (1678-1743),  wlio  seems  to  have  tempered  his  narration 
to  suit  the  spirit  of  his  innnediate  audience: 

"The  books  of  the  great  Milton,  and  Mr.  John  Goodwin,  published  in  defence 
of  the  sentence  of  death  passed  upon  his  late  majesty,  were  called  in  by  procla- 
mation. And  upon  the  27th  of  .Xugust,  Milton's  Dcfensio  f'ro  Pofulo  Anglicano 
contra  Saliiiasiuiii,  and  his  answer  to  a  book  entitled,  Tlic  Portraiture  of  his 
sacred  Majesty  in  his  Solitude  and  Sufferings,  were  burned  by  the  hands  of  the 
common  hangman;  together  w-ith  Mr.  John  Goodwin's  book,  entitled,  The  Ob- 
structors of  Justice:  but  the  authors  absconded  till  the  storm  was  over.  It  was  a 
surprise  to  all  that  they  had  escaped  prosecution.  None  but  Goodwin  and  Peters 
had  magnified  the  king's  execution  in  their  sermons ;  but  Goodwin's  being  a 
strenuous  Arminian  procured  him  friends.  Milton  had  appeared  so  boldly,  though 
with  much  wit,  and  so  great  purity  and  elegance  of  style,  upon  the  argument  of 
the  king's  death,  that  it  was  thought  a  strange  omission  not  to  except  him  out  of 
the  Act  of  Indemnity;  but  lie  lived  many  years  after,  though  blind,  to  acquire 
immortal  renown   by  his  celebrated  poem  of  Paradise  Lost." 

"This  year  (1674)  put  an  end  to  the  life  of  that  great  man,  John  Milton,  born 
in  London,  and  educated  in  Christ  College,  Cambridge,  where  he  discovered  an 
uncommon  genius,  which  was  very  much  improved  by  his  travels.  He  was  Latin 
Secretary  to  the  Long  Parliament,  and  wrote  in  defence  of  the  murder  of  King 
Charles  I.  against  Salmasius  and  others,  with  great  spirit,  and  in  a  pure  and  elegant 
Latin  style.  He  was  afterwards  secretary  to  the  Protector  Cromwell,  and  lost  the 
sight  of  both  his  eyes  by  hard  study.     At  the  Restoration  some  of  bis  books  were 

'^'Bishop  Samuel  Parker,  in  The  History  of  His  Own  Time,  in  Pour  Rooks, 
Trans,  from  the  Latin  by  'Lhos.  .W'tvlin.,  London,  1727,  devoted  a  section  to 
"Marvell,"  claiming  that,  "by  the  interest  of  Milton,  to  whom  he  was  somewhat 
agreeable  from  his  ill-natured  wit,  be  was  made  Under-Secretary  to  Cromwell's 
Secretary." 


215]  THE  BIOGRAPHICAL   TREATMENT  OP    MILTON  123 

burned,  and  himself  in  danger;  but  he  was  liappily  included  in  the  Act  of  Indem- 
nity, and  spent  the  remainder  of  his  life  in  retirement.  He  was  a  man  of  an 
unequalled  genius,  and  acquired  immortal  fame  by  his  incomparable  poem  of 
Paradise  Lost:  in  which  he  manifested  such  a  sublimity  of  thought  and  such 
elegance  of  diction,  as  perhaps  were  never  exceeded  in  any  age  or  nation 
of  the  world.  His  daughters  read  to  him,  after  he  was  blind,  tlie  Greek  poets, 
thougli  they  understood  not  the  language.  He  died  in  mean  circumstances,  at 
Bunhill    Row,   in   the   sixty-seventh   year   of    Iiis   age."-- 

The  next  year  after  Neal's  cautious  account,  the  public  was  favored 
with  the  longest  and  most  sympathetic  Lifr  of  Milton  hitherto  pub- 
lished.   This  Life  was  the  work  of  Jonathan  Richardson,  who  published 

it  in  the  Explanatory  Notes  on Paradise  Lost  (1734),  to  which  his 

son  contributed  much  in  the  way  of  classical  learning.-^  The  elder 
Rieliardson  was  an  artist,  and  a  man  of  rather  keen  literary  interests. 
He  liad  had  a  long  and  extensive  experience  with  public  life,  and  liad 
treasured  up  many  valuable  literary  anecdotes  and  traditions  of  the 
Restoration  period.  His  own  life  had  extended  almost  back  to  the 
Commonwealth,  and  thus  subtended  a  large  and  important  arc  of 
English  history.  In  this  Life  of  Milton  Richardson  brought  together  a 
wealtli  of  reminiscent  materials  of  great  interest  and  permanent  value. 

The  first  thing  in  the  book  is  a  full  page  portrait  of  Milton,  in  his 
later  life,  with  a  crown  of  laurel  upon  his  head.  Richardson  had  "given 
a  little  more  vigor  to  the  print"  (ii),  and  placed  the  crown  upon  Mil- 
ton's liead  because  all  men  allowed  it  to  the  great  poet.  Tlie  general 
import  of  this  Life  was  adequately  stated  in  tlie  biographer's  opening 
sentences : 

"li  I  can  give  a  more  Exact,  and  a  more  Just  Idea  of  Milton,  and  Paradise 
Lost  than  the  Public  has  yet  had  of  Either,  I  am  assured  it  will  be  Acceptable  to 
all  Honest  and  Ingenious  Minds  of  What  Party  Soever.  This  is  All  I  Intend; 
not  a  Panegyrick,  not  to  give  my  Own  Sense  of  what  a  Man  should  be,  but  what 
this  Man  Really  was.  Not  to  Plead  for  the  Poet,  or  the  Poem,  but  for  Truth,  by 
giving  Light  into  what  hath  Hitherto  lain  in  Obscurity,  and  by  Dispelling  Mis- 
takes which  have  Injur'd  the  ^lemory  of  a  Deserving  Man,  Debas'd  a  work  Worthy 
of  the  Highest  Estimation,  and  Robb'd  the  World  of  the  Pleasures  and  Ad- 
vantage it  Might  have  Receiv'd,  and  I  presume  to  Hope  Will  Hereafter  Receive. 
This  is  My  Aim  in  the  Present  Undertaking."  (On  the  next  page,  he  says,)  "the 
Print  Prefix'd  shows  the  Face  of  him  IVIio  Wrote  Paradise  Lost,  the  Face  We 
chiefly  desire  to  be   acquainted   with." 

--History  of  the  Puritans.  \q\.  I,  1732;  H.  1733;  HI,  1736;  IV,  1738.  5  vols., 
edited  by  Dr.  Joshua  Toulmin.  1797.     II,  219-20,  280. 

-^Exf'lanatory  Xotcs  on  Milton's  Paradise  Lost.  By  Jonathan  Richardson. 
Father  (166^1747)  and  Son  1 1696-1771).  With  a  Life  of  the  Author,  John  Milton. 
London.  1734.     2nd  ed.,  1733.     Life,  pp.  i-clxiii. 


124  THE    MILTON    TRADITION  [216 

The  last  idea  above  was  -wliat  gave  direction  to  the  author's  bio- 
graphical efforts.  Plainly  from  the  first  he  was  interest^jd  primarily 
in  the  truth  of  him  who  wrote  Paradise  Lost.  In  keeping  with  this  par- 
ticular interest,  the  author  recognized  the  Minor  Poems  of  Milton 
mainly  as  evolutionary  facts  in  the  development  of  his  mind  for  his 
supreme  work.  This  development  was  represented,  as  it  were,  from 
■within  the  mind  itself.  Through  liberal  citations  from  his  poetry  and 
prose,  Milton  was  made  to  reveal  the  growing  fulness  and  ripening 
purpose  of  his  own  mind,  as  it  steadily  approached  the  full  magnitude 
of  genius  in  Paradise  Lost. 

Tlie  political  tone  of  the  Life  was  greatly  subdued,  and  in  all  the 
incidental  matters  there  was  a  splendid  sympathy  with  the  great  poet. 
Especially  was  this  sympathy  evident  in  matters  relating  to  Milton 
after  the  Restoration.  The  whole  account  closed  with  an  Apostrophe 
that  rounded  out  the  biographer's  original  design: 

"O  Milton,  thou  hast  employ'd  all  thy  \'ast  Treasure  of  Wit,  Learning  and 
Ability,  all  the  Beauty,  Energy,  and  Propriety  of  Words  Our  Language  was 
capable  of,  all  the  Sweetness  and  Harmony  of  Numbers  thy  Musical  and  Judicious 
Ear  furnished  thee  with,  all  the  Fire  and  Beauty  and  Sublimity  of  Imagination 
Peculiar  to  thyself,  Added  to  what  could  be  supplied  by  those  who  have  most 
excelled  in  that  Angelical  Faculty,  in  Whatever  Ages  or  Languages,  All  the 
Firmness,  Force,  and  Dignity  of  Mind  thy  Virtue  and  Piety  Excited  in  thee,  or 
Rewarded  thee  with;  and  together  with  .AH  These  a  Genius  Perfectly  Poetical,  if 
Ever  Man's  was,  and  That  Regulated  by  a  most  Solid  Judgment.  -Ml  these  thou 
hast  Consecrated  to  Produce  a  Poem,  more  Instrumental  than  Other  Human 
Composition,  to  Calm  and  Purify  the  Mind,  and  through  the  Delightful  Regions  of 
Poetry,  to  Exalt  and  Fix  it  to  the  Mysteries,  Sublimities,  and  Practice  of  Religion; 
to  a  State  of  Tranquility  and  Happiness,  the  Utmost  Morality  is  Capable  of." 

The  next  biograither  of  Milton  was  the  Rev.  Thomas  Birch  (1705- 
1766).  He  was  an  ardent  Whig,  and  tnider  the  iiiHuenee  of  that  party, 
rose  rapidly  in  church  and  political  recognition.  He  was  made  secretary 
of  the  Royal  Society,  and  figured  among  men  of  letters  as  an  historian 
and  an  advocate  of  liberty.  Tn  1738,  he  edited  The  VoDiplcte  Prose 
Works  of  Milton,  in  two  folio  volumes,  with  An  Aeeount  of  the  lAfc  and 
Writings  of  Mr.  John  Milton.-* 

-*The  Accoiwl  of  Milton  occupied  pp.  i-lxiii,  with  an  Appendix,  pp.  Ixiv-xcvii, 
in  Vol.  1  of  the  Prose  Works  1738,  and  was  reprinted  witli  the  second  edition  of  the 
Worlis,  1-53. 

But  the  biographical  interest  of  Birch  in  Milton  was  not  limited  to  tlic  one 
Life.  In  174,3,  the  first  volume  of  a  work,  in  large  folio,  entitled,  The  Heads  of 
Itluslrious  Persons  of  Great  Britain,  ivith  their  Li-'es  and  Charaelers,  was  pub- 
lished in  London.  Vol.  II  appeared  in  17.(7-52;  a  new  edition,  in  1756  (Mo,  Rev. 
7 :2SS-277)  ;  another,  in  1813.  This  elaborate  work  was  under  the  direction  of 
Birch,  who  prepared  the  "Lives."    Milton  appeared  as  No.  54,  in  Vol.  I,  with  a 


217]  THE  BIOGRAPHICAL   TREATMENT  OP    MILTON  125 

Tliis  Account  was  sympathetic  with  most  of  Milton's  views;  and 
being  an  introduction  to  the  Prose  Works,  naturally  gave  considerable 
attention  to  the  circumstances  of  Milton's  middle  Life.  But  the  bal- 
ance was  not  lost  between  this  and  other  periods  of  Milton's  career, 
and  the  total  impression  is  that  of  an  unusual  interest  in  Milton  the 
poet,  and  especially  in  him  as  the  author  of  Paradise  Lost. 

On  the  political  side  of  Milton's  Life,  Birch  seems  to  have  cited 
with  approval  Milton's  ow^l  justification  of  his  early  attitude  toward 
the  Established  Church  (vi).  Birch  regarded  an  abuse  of  Milton,  even 
as  early  as  1704-6,  "a  Reproach  only  to  the  Person  who  is  rash  enough 
to  pass  it."-^  While  observing  the  facts  with  fidelity,  Birch  still  suc- 
ceeded in  representing  the  Prose  Works  in  a  manner  that  tended  to 
secure  for  most  of  the  pieces  a  more  candid  consideration  from  the 
reading  public.  Such  evidently  was  the  biographer's  intentions,  who 
followed  Toland  in  the  initial  impulses  of  this  Life,  and  allied  Milton 
with  the  cause  of  liberty. 

Birch  gave  considerable  attention  to  Camus  and  Lycidas.  He  liad 
access  to  the  original  manuscripts  of  these  poems,  then  in  the  Library 
of  Trinity  College,  Cambridge,  and  printed  them  for  the  curious,  "as 
it  will  be  extremely  agreeable  to  see  the  first  Thoughts  and  subsequent 
Corrections  of  so  great  a  Poet  as  Milton"  (vii-xvi).  Birch  approved 
Richardson's  emphasis  upon  the  originality  in  Comus,  and  Warburton's 
comparison  of  the  descriptive  excellencies  in  the  scenes  of  Eden   (xiv). 

full  page  portrait,  and  a  two-page  compactly  written  Life.  But  the  account  has 
no    distinguishing   features. 

More  important  were  Birch's  relations  to  the  Account  of  Milton  given  b}' 
Pierre  Bayle  (1647-1706),  in  his  Dictionnairc  Historiquc  et  Critique  (cinquieme 
edition,  Tome  III,  393-399,  1740;).  This  work  was  published  in  1695-9;,  and 
enlarged  in  1702.  It  was,  in  1734-1741,  translated  into  English  and  edited,  with 
corrections  and  comments,  by  Thomas  Birch,  assisted  by  John  Peter  Barnard 
(d.  1750),  John  Locknian  (1698-1771),  and  other  hands.  The  work  contained  an 
Account  of  Milton,  with  a  Supfylcwent  (vol.  vii,  1738,  567-575-588).  The  Original 
Account,  by  Bayle,  was  very  unsympathetic,  and  needed  much  supplementing  and 
correction.  This  additional  work  was  attributed  to  Birch  (B.  M.  C).  It  was 
certainly  under  his  oversight.  But  it  was  signed  "T",  and  has  some  internal 
evidence  of  havmg  been  written  by  another  hand.  Birch's  attitude  toward  the 
original  work  of  Bayle  may  be  seen  in  the  next  note  below. 

^''"Milton  has  been  very  injuriously  treated  by  the  anonymous  Author  of 
Rentargucs  Critiques  sur  la  nouvellc  Edition  de  Dictionnairc  Historiquc  dc  Moreri 
donn^  en  1704,  in  the  second  Edition  of  the  Book  published  by  Mons.  Bayle  at 
.'\msterdam,  1706.  For  this  Writer  represents  him,  not  only  as  a  Man  absolutely 
without  the  least  Religion,  but  likewise  as  a  wretched  Poet,  and  worse  Orator. 
But  such  a  Judgment  is  a  Reproach  only  to  the  Person  who  is  rash  enough  to 
pass  it."     Birch,  Life  of  Milton,  p.  l.xiii. 


126  THE    JIILTOX    TRADITION  [218 

The  biographer  cited  a  long  letter  from  Henry  Wotton  to  Milton ; 
but  Birch  seems  to  Imve  felt  the  Minor  Poems,  as  a  group,  sufficiently 
praised  in  the  following  Preface  of  Humphrey  Mosclcy  the  Stationer, 
to  the  Reader  (ed.  16-45)  : 

"It  is  not  any  private  respect  of  gain,  gentle  Reader,  for  the  sliglitest  pamphlet 
is  now  adays  more  vendible  than  the  works  of  the  learnedest  Men;  but  it  is  the 
Love  I  have  to  our  own  Language,  that  hath  made  me  diligent  to  collect  and  set 
forth  such  peaces  both  in  prose  and  vers,  as  may  renew  the  wonted  Honour  and 
Esteem  of  our  English  tongue:  and  it's  the  worth  of  these  both  English  and  Latin 
Poems,  not  the  flourish  of  any  prefixed  Encomions,  that  can  invite  thee  to  buy 
them,  though  these  are  not  without  the  highest  Commendations  and  Applause  of 
the  learnedest  Academies  both  domestick  and  forreign ;  and  amongst  those  of  our 
own  Country,  the  unparall'd  Provost  of  Eaton,  Sir  Henry  Wotton.  I  know  not 
thy  Palate  how  it  relishes  such  Dainties,  nor  how  harmonious  thy  Soul  is ;  perhaps 
more  trivial  Airs  may  please  thee  better.  But  however  thy  Opinion  is  spent  upon 
these,  that  Incouragement  I  have  already  received  from  the  most  ingenious  Men 
in  their  clear  and  courteous  Entertainment  of  Mr.  Waller's  late  choice  Peeces, 
hath  once  more  made  me  adventure  unto  the  world,  presenting  it  with  these  ever- 
green, and  not  to  be  blasted  Laurels.  The  Author's  more  peculiar  Excellency  in 
these  Studies  was  too  well  known  to  conceal  his  Papers,  or  to  keep  me  from 
attempting  to  sollicit  them  from  him.  Let  the  Event  guide  itself  which  way  it 
will,  I  shall  deserve  of  the  .Age  by  bringing  into  the  light  as  true  a  Birth  as  the 
Miftes  have  brought  forth  since  our  famous  Spenser  wrote,  whose  Poems,  in  these 
English  ones  are  as  rarely  imitated,  as  sweetly  e.xcel'ed.  Reader,  if  thou  art  eagle- 
eied  to  censure  their  Wurth,  I  am  not  fearful  to  expose  them  to  thy  exactest 
perusal."     (Birch,  Prose  Works  of  Milton,  17,38.     L    xxvi.) 

Birch  dwelt  with  a  feeling  of  national  priik>  upon  the  merits  of 
Paradise  Lost,  as  the  climax  in  the  career  of  a  great  productive  genius. 
Step  by  step  he  traced  the  development  of  that  genius  toward  its  final 
expression.  That  development  was  really  the  staiulpoint  from  which 
he  viewed  the  early  manuscripts  of  Camus  and  Lycidas.  He  emphasized 
Milton's  early  aml)itions  to  write  a  great  work,  and  obst-rved  the  ])roph- 
ecy  of  tluit  future  greatiu'ss,  in  the  Italian  Ode  by  Antonio  Francini 
(Trib.  4),  and  by  others  (xvii).  He  indicated  the  persistent  interest 
of  Milton  in  King  Arthur,  as  stated  in  Mnnsus  (xviii),  and  in  the 
Epitaphium  Damonis,  where  the  epic  purpose  had  become  evident  (xix). 
lie  cited  Milton's  elaborate  statement  of  his  lofty  juirpose  in  Th(  h'((ison 
of  Church  Government  (1641)  ;  and  later  gave  the  manusci'ipt  outlines 
of  the  proposed  Tragedy  on  the  Fall  of  Man  (xx-xxi  and  xxxix-xlix). 

The  liioprapher,  after  stating  the  usual  traditions  about  the  writing 
and  i)ulilication  of  Paradise  Lost,  laid  new  empliasis  upon  the  early 
reputation  of  the  poem,  and  subsecpient  Miltonic  interests,  "Tiiis  poem 
of  our  autlior,"  .said  Birch,  "lias  met  with  an  Approbation,  which  will 
continue  as  long  as  a  true  taste  for  Poetry  shall  remain  among  man- 


219]  THE  BIOGRAPHICAL  TREATMENT  OF    MILTON  127 

kind."  This  double  statemeut  of  fact  and  prophecy  was  supported  by 
five  folio  pages  of  criticism,  extracted  from  those  whose  praises  showed 
a  rising  tide  of  esteem,  at  liome  and  abroad,  for  the  matchless  Paradise 
Lost:-" 

While  these  multiplied  labours  were  engaging  the  energies  of 
Birch,  the  Rev.  Francis  Peck  (1692-1743)  produced  New  Memoirs  of 
the  Life  and  Poetical  Works  of  Mr.  John  Milton  (1740).='  This  co- 
piously filled  volume,  as  might  be  expected  from  its  varied  contents, 
gave  a  fairly  just  account  of  Milton  and  his  poetical  works.  Larger 
proportions  of  attention  were  bestowed  upon  the  several  poems  than  in 
any  previous  Life  of  the  Poet.  The  work  is  noteworthy  for  three  special 
points  of  interest.  The  first  is  the  strong  defence  of  Milton's  ability  in 
rhyme,  against  the  strictures  of  Dryden  upon  the  Juvenile  Poems.  The 
second  is  that  Peck  was  among  the  first  to  illustrate  the  writings  of 
Shakespeare  and  Milton  "by  extracts  from  contemporary  writers,  in 
accordance  with  the  model  subsequently  followed  by  Stevens  and  Ma- 
lone.  "=*  The  third  is  the  new  method  of  analj'ziug  the  poems  Lycidas, 
Camus,  L'Allegro,  II  Penseroso,  and  the  Nativity  Ode,  in  a  manner  not 
unlike  that  emplo.yed  later  by  Dr.  Johnson,  in  his  celebrated  treatment 
of  Milton. 

In  1747,  Martha  Whincop,  widow  of  the  late  Thomas  Whincop 
(d.  1730),  the  author  of  Scandcberg;  or.  Love  and  Liberty,  A  Tragedy, 
edited  that  work,  and  added  a  "List  of  Dramatic  Authors,  and  All 
Dramatic  Pieces,  to  1747."  This  List,  though  in  her  name,  was  proba- 
bly revised,  if  not  written,  by  the  dramatist  and  compiler,  John  Mottley 
(1692-1750).="  It  has  a  portrait  of  Milton,  immediately  under  which, 
the  sketch  opens  with  the  statement:  "This  Gentleman  has  rendered 
his  name  immortal  by  liis  Poem,  called  Paradise  Lost,  the  finest  Piece 

-"Life  of  Milton,  (xlix-lv).  He  cited  Edw.  Phillips,  Dryden.  Addison,  Atter- 
bury  (To  Pope,  Nov.  8,  1717),  Gildon,  Voltaire,  Lcttrcs  Critiques  a  Mr.  le  Conite 
sur  le  Paradis  Perdu  &  Reconquis,  (Paris,  1731),  Richardson,  and  VVarburton 
(Div.  Legation). 

='This  volume  contained,  besides  the  Memoirs,  (1)  An  Examination  of  Mil- 
ton's Style ;  (2)  Explanatory  &  Critical  Notes  on  divers  Passages  in  Milton  and 
Shakespeare,  by  the  author ;  (3)  Baptistes :  a  Sacred  and  Dramatic  Poem,  in 
defence  of  Liberty,  as  written  in  Latin  by  Mr.  George  Buchanan,  and  translated 
into  English  by  Mr.  John  Milton,  (4)  The  Parallel,  or  Archbishop  Land  and 
Cardinal  Wolsey  Compared — a  Vision  by  Milton;  (5)  The  Legend  of  Sir  Nicholas 
Throckmorton,  Kn.,  who  died  of  poison  1570;  (6)  Herod  the  Great,  by  tlie 
Editor ;  (7)  The  Resurrection,  a  poem  in  Imitation  of  Milton,  by  a  Friend ;  and 
(8)  A  Discourse  on  the  Harmony  of  the  Spheres,  by  Milton,  with  Preface  and 
Notes.    In  the  same  year  (1740),  Peck  also  published  Memoirs  of  Oliver  Cromwell. 

28Thos.   Seccombe,   D.N.B.,   "Peck." 

^^Dict.  Natl.  Biog.   Both  writers. 


128  THE    MILTON    TR^VDITION  [220 

in  the  English  Language."  After  some  statemeuts  about  Milton's  polit- 
ical controversies,  his  international  reputation,  and  his  blindness,  the 
writer  added  the  prosaic  statement,  that  "He  wrote  two  dramatic 
pieces,"  which  are  merely  named. 

The  most  considerable  editor  of  Milton's  poetry  during  the  Eight- 
eenth Century,  was  the  Rev.  Thomas  Newton,  D.D.  (1704-1782),  who 
published  his  variorum  edition  of  Paradixr  Lost,  May  20,  1749.  As  an 
introduction  to  this  edition,  Newton  compiled  a  new  Life  of  Milton. 
The  author  began  this  Life  with  the  statement  tliat  most  of  his  mate- 
rials had  come  from  the  labours  of  the  earlier  biographers.  But  these 
materials  were  generally  presented  in  a  fresh  manner,  and  often  sup- 
plemented by  valuable  information  from  other  sources.  But  it  is  possi- 
ble to  refer  clauses,  and  even  whole  sentences,  to  the  different  preceding 
Lives.  Newton  was  a  careful  writer,  condoning  where  he  could  not 
conscientiously  praise  the  course  pursued  by  I\Iilton ;  and  this  work 
probably  had  a  direct  bearing  upon  the  hostile  re-action  of  Dr.  Johnson 
against  Milton  in  the  Life  of  1779. 

Newton's  Life  of  Milton  was  very  popular,  having  been  usually 
included  in  the  numerous  editions  of  his  variorum  edition  of  Paradise 
Lost.^"  In  view  of  this  editorial  woi"k,  no  elaborate  criticism  of  the 
poems  was  to  be  expected  in  the  introductory  Lift  of  tlie  Poet.  Newton 
did  not  agree  with  Milton's  political  and  religious  views,  as  appears 
from  the  following  statement;  but  his  conservative  estimate  of  Milton 
in  this  connection  was  a  tribute  to  his  character  and  influence.  After 
exalting  Milton's  genius  and  learning,  the  biographer  continued: 

"Hut  his  great  parts  and  learning  liave  scarcely  gaincil  more  admirers,  than 
his  political  principles  have  raised  him  enemies.  And  yet  the  darling  passion  of  his 
soul  was  the  love  of  liherty ;  this  was  his  constant  aim  and  end,  however  he  might 
be  mistaken  in  tlie  means.  He  was  indeed  very  zealous  in  what  was  called  the 
good  old  cause,  and  with  his  spirit  and  resolution  it  is  somewhat  wonderful,  that 
he  never  ventured  his  person  in  the  civil  war.  but  tho'  he  was  not  in  arms,  he  was 
not  unactivc,  and  thought,  I  suppose,  that  he  could  be  of  more  service  to  the 
cause  by  his  pen  tlian  by  his  sword.  He  was  a  thorough  republican,  and  in  this 
he  thought  like  a  Greek  or  Roman,  as  he  was  very  conversant  with  their  writ- 
ings."    (,xlv).'" 

'"Newton's  Life  appeared  as  follows   ( Chap 

45     I "49  7°  1762 

57     1754  71  1763 

63  1758  74  1765 

64  1759  75  1766 
66     1760  76  1767 

"The  Poetical  Works,  John  Exshaw,  Dublin,  1773 


hap.  H.,  sect 

I) 

80  1770 

98  1778 

81  1770 

99  1778 

86  1773 

107  1790 

87  »773 

125  1795 

96  1777 

Italian  1794 

(ublin,  1773. 

Vol 

I. 

221]  THE  BIOGRAPHICiUj  TREATMENT  OF    MILTON  129 

"In  matters  of  religion  too  lie  has  given  as  great  offense  or  even  greater  than 
by  his  political  principles.  But  still  let  not  the  infide!  glory :  no  such  man  was 
ever  of  that  party.  He  had  the  advantage  of  a  pious  education,  and  ever  expressed 
the  profoundest  reverence  of  the  Deity  in  his  words  and  actions,  was  both  a 
Christian  and  a  Protestant,  and  studied  and  admired  the  Holy  Scriptures  above 
all  other  books  whatsoever;  and  in  all  his  writings  he  plainly  showed  a  religious 
turn  of  mind,  as  well  in  verse  as  in  prose,  as  well  in  his  works  of  an  earlier  date, 
as  in  those  of  later  composition,     (xlvi). 

Newton  regarded  the  Areopagitica  as  "perhaps  the  best  vindication, 
that  has  been  published  at  any  time  or  in  any  language,  of  that  liberty 
which  is  the  basis  and  support  of  all  other  liberties,  the  liberty  of  the 
press"  (xvi).  He  commented  favorably  upon  the  recent  adaptations 
of  some  of  the  poems  by  Handel,  and  praised  the  Minor  Poems,  in 
the  words  of  Peuton,  as  sufficient  to  render  Milton's  name  immortal 
(xvii).  He  devoted  something  like  five  pages  to  Paradise  Lost,  describ- 
ing it  as  "generally  esteemed  the  noblest  and  most  sublime  of  modern 
poems,  and  equal  at  least  to  the  best  of  the  ancients,  the  honor  of  this 
country,  and  the  very  envy  and  admiration  of  all  others"  (xxxvii). 

Newton  laid  some  new  emphasis  upon  the  Miltonic  interests  up  to 
the  time  of  his  own  writing.  But  the  matters  indicated  are  now  obvious 
to  all  students  of  the  period,  and  his  work  is  of  small  value  in  this  field. 
He  also  emphasized  the  interests  of  Milton's  Family,  an  emphasis  closely 
connected  with  the  mid-century  interest  in  Milton's  grand-daughter, 
Mrs.  Elizabeth  Foster.  In  this  field  of  study,  Newton  was,  as  a  rule, 
more  definite  and  correct,  than  his  predecessors  had  been.  But  even 
here  he  suffered  one  correction  at  the  hands  of  the  notorious  William 
Lauder.^- 

With  these  multiplied  biographical  materials  at  command,  Theo- 
philus  Gibber  (1703-1758)  had  no  occasion  for  difficulty  in  compiling 
his  account  of  Milton,  for  The  Lives  of  the  Poets  (1753).  Such  a  work 
would  hardly  be  expected  to  present  any  strongly  original  features ;  but 
this  account  has  the  interest  of  a  very  strong  nationalistic  spirit  in  the 
following  praise  of  Paradise  Lost: 

"The  British  Nation,  which  has  produced  the  greatest  men  in  every  profession, 
before  the  appearance  of  Milton  could  not  enter  into  any  competition  with  antiquity, 
with  regard  to  the  sublime  excellence  of  poetry — (The)  ancients  had  still  a  poet 
in  reserve  superior  to  the  rest,  who  stood  unrivalled  by  all  succeeding  times,  and 
in  Epic  poetry,  which  is  justly  esteemed  the  highest  effort  of  genius.  Homer  had  no 
rival.  When  Milton  appeared,  the  pride  of  Greece  was  humbled,  the  competition 
became    more    equal,   and    since   Paradise   Lost  is  ours,  it  would,   perhaps,   be   an 

^-"P.  S."  to  An  Essay  on  Milton's  Imitation  of  the  Moderns.    L.,  1749. 


130  THE    MILTON    TR.VDITION  [222 

injury  to  our  national   fame  to   yield  the  palm  to  any  state,  whether  ancient  or 
modern."'^ 

Tlie  national  pride  in  Jlilton  was,  at  the  mid-century,  almost  bound- 
less. His  genius  as  a  poet  was  the  wonder  of  the  Ages.  His  genius  as 
a  political  writer  was  asserting  itself  against  all  prejudices.  His  pro- 
found conceptions  of  liberty  were  taking  fast  hold  of  men.  His  own 
integrity,  his  unselfisli  service  even  to  the  limit  of  extreme  sacrifice,  his 
high  place  in  public  life,  his  exalted  conceptions  of  personal  and  na- 
tional liberty,  and  his  genius  in  poetry,  rendered  the  thought  of  Milton 
in.separable  from  the  liistory,  progress,  and  destiny  of  English  political 
and  literary  life.  David  Hume,  who  felt  little  sj-mpathy  with  the 
Puritan  movement,  in  his  History  of  England  (1756),  recognized  Mil- 
ton's inherent  greatness,  destined  to  shine  in  the  heaven  of  merit,  when 
prejudice  had  once  cleared  away.    Hume's  estimation  is  as  follows: 

It  is,  however,  remarkable  that  tlie  greatest  genius  by  far  that  shone  out  in 
England  during  this  period,  was  deeply  engaged  witli  those  fanatics,  and  even 
prostituted  his  pen  in  theological  controversy,  in  factious  disputes,  and  in  justifying 
the  most  violent  measures  of  the  party.  This  was  John  Milton,  whose  poems  are 
admirable,  though  liable  to  some  objections,  his  prose  writings  disagreeable,  though 
not  altogether  defective  in  genius.  Nor  are  all  his  poems  equal :  his  Paradise  Lost, 
his  Comus,  and  a  few  others,  shine  out  amidst  some  flat  and  insipid  compositions. 
Even  in  the  Paradise  Lost,  his  capital  performance,  there  are  very  long  passages, 
amounting  to  near  a  third  of  the  work,  almost  wholly  destitute  of  harmony  and 
elegance,  nay,  of  all  vigor  of  imagination.  This  natural  inequality  in  Milton's 
genius  was  much  increased  by  the  inequalities  in  his  subject;  of  whch  some  parts 
are  of  themselves  the  most  lofty  that  can  enter  into  human  conception;  others 
would  have  required  the  most  labored  elegance  of  composition  to  support  them. 
It  is  certain  that  this  author,  when  in  a  happy  mood,  and  employed  on  a  noble 
subject,  is  the  most  wonderfully  sublime  of  any  poet  in  any  language,  Homer,  and 
Lucretius,  and  Tasso  not  excepted.  More  concise  than  Homer,  more  simple  than 
Tasso,  more  nervous  than  Lucretius,  had  he  lived  in  a  later  age,  and  learned  to 
polish  some  rudeness  in  his  verses ;  had  he  enjoyed  better  fortune,  and  possessed 
leisure  to  watch  the  returns  of  genius  in  himself;  he  had  attained  the  pinnacle  of 
perfection,  and  borne  away  the  palm  of  epic  poetry. 

It  is  well  known  that  Milton  never  enjoyed  in  his  lifetime  the  reputation 
which  he  deserved.  His  Paradise  Lost  was  long  neglected:  prejudices  against  an 
apologist  for  the  regicides,  and  against  a  work  not  wholly  purged  from  the  cant 
of  former  times,  kept  the  ignorant  world  from  perceiving  the  prodigious  merit 
of  that  perforMiaiicc.  Lord  Sommcrs,  by  encouraging  a  good  edition  of  it,  about 
twenty  years  after  the  author's  death,  first  brought  it  into  request;  and  Tonson, 
in  his  dedication  of  a  smaller  edition,  speaks  of  it  as  a  work  just  beginning  to  be 
known.     Even   during  tlie  prevalence   of   Milton's  party,   he  seems  never  to  have 

'■■'This  account  may  have  been  only  a  step  removed  from  Dr.  Johnson.  Most 
of  these  f.ivcs  were  compiled  by  Robert  Shields  (d.  I7.'i.l),  who  was  then  working 
on  Johnson's  Dictionary. 


223]  THE  BIOGRAPHICAL  TREATMENT  OF    MILTON  131 

been  much  regarded ;  and  Whitlocke  talks  of  one  Milton,  as  he  calls  him,  a  blind 
man,  who  was  employed  in  translating  a  treaty  with  Sweden  into  Latin.  These 
forms  of  expression  are  amusing  to  posterity,  who  consider  how  obscure  Whitlocke 
himself,  though  lord-keeper  and  ambassador,  and  indeed  a  man  of  great  ability  and 
merit,  has  become  in  comparison  with  Milton. 

It  is  not  strange  that  Milton  received  no  encouragement  after  the  restoration: 
it  is  more  to  be  admired  that  he  escaped  with  his  life.  Many  of  the  cavaliers 
blamed  extremely  that  lenity  towards  him,  which  was  so  honorable  in  the  king, 
and  advantageous  to  posterity.  It  is  said  that  he  had  saved  Davenant's  life  during 
the  protectorship;  and  Davenant  in  return  afforded  him  like  protection  after  the 
restoration ;  being  sensible  that  men  of  letters  ought  always  to  regard  their  sym- 
pathy of  taste  as  a  more  powerful  band  of  union,  than  any  difference  of  party  or 
opinion  as  a  source  of  animosity.  It  was  during  a  state  of  poverty,  blindness,  dis- 
grace, danger,  and  old  age,  that  Milton  composed  his  wonderful  poem,  which  not 
only  surpassed  all  the  performances  of  his  contemporaries,  but  all  the  compositions 
which  had  flowed  from  his  pen  during  the  vigor  of  his  age  and  the  height  of  his 
prosperity.  This  circumstance  is  not  the  least  remarkable  of  all  those  which 
attend   that    great   genius.     He   died   in    1674,   aged   sixty-six. ^^ 

This  estimate  of  Milton  was  not,  however,  entirely  satisfactory  to 
the  Milton  enthusiasts  of  the  Eighteenth  Century.  The  Critical  Review 
seems  to  have  taken  most  delight  in  voicing  the  opposition.  Hume  was 
"the  professed  panegyrist  of  the  Stewart  family,"  and  the  Review  dis- 
credited his  ability  to  see  the  Revolution  from  the  standpoint  of  sincerity 
on  the  part  of  Milton  and  Cromwell.^'*  The  Review  had  "a  better 
opinion  of  Milton, ' '  than  that  given  by  Hume  f^  and  felt  a  special  relish 
in  the  Observations  on  Mr.  Hume's  History  of  England,  by  J.  Towers. 
This  author  asserted  that  Hume  even  studiously  endeavoured  to  dimin- 
ish the  reputation  of  the  most  celebrated  English  geniuses.  He  charged 
that  it  was  Hume's  custom  to  bestow  praise,  and  then,  "with  great 
dexterity,  to  throw  out  such  insinuations,  (and)  so  (to)  magnify  defects, 
real  or  imaginaiy,  as  almost  wholly  to  overturn  what  he  had  said"  in 
favour  of  his  character  under  discussion.  Milton  was  considered  to  be 
so  treated  in  this  passage  of  Hume's  History. ■•''  But  with  inconsistency 
permissible  only  in  a  Review,  this  great  oracle  of  praise  and  abuse, 
showed  itself  capable  of  greater  severity  against  Milton,  than  Hume  had 
ever  felt,  as  will  appear  in  the  following  narrowed  bitterness : 

"Every  body  knows  with  what  acrimony  and  rancour  Milton  wrote  against 
the  Character  of  Charles,  and  in  defense  of  the  most  infamous  of  all  mankind ;  and 

'*David  Hume  (1711-1776).    History  of  England,  from  the  Invasion  of  Julius 
Caesar,  to  the  Abdication  of  James  II,  1688.    N.  ¥.,  Harper's,  1850,  vol.  v,  529-530. 
3=Cr.  Rev.,  Feb.,   1783,  55:155". 
3*Cr.  Rev.,  Dec,  1756,  2:385-404. 
^'Cr.  Rev.,  April,  1778,  45  :289-292. 


132  THE    MILTON    TRADITION  [224 

how  industrious  he  was  in  picking  up,  and  hardy  in  affirming  for  truth,  every  low 
insinuation  which  mahce  could  invent,  or  prejudice  beheve.  Those  are  stains  in  the 
moral  character  of  Milton,  which  all  the  splendour  of  his  intellectual  merit  will 
never  brighten.  It  is  the  peculiar  misfortune  of  the  Stuart  family,  that  two  of 
the  greatest  geniuses,  which  the  island  has  produced,  happened  interested  in  the 
cause  of  their  enemies.  These  were  Buchanan  and  Milton,  two  men, 
not  more  celebrated  for  their  talents,  than  remarkable  for  the  bitterness  and 
asperity  of  their  resentment.  Buchanan  assisted  the  bastard  Murray  in  traducing 
and  betraying  his  sovereign  and  benefactress.  Milton  insulted  the  ashes  of  his 
murdered  king  with  calumny  and  reproach;  and,  with  all  his  professed  attachment 
to  the  natural  rights  of  mankind,  acted  as  secretary  to  the  usurper  and  tyrant 
Cromwell,  who  destroyed  the  liberties,  and  trampled  upon  the  constitution,  of 
his   country."^* 

The  occasion  of  this  bitterness  against  Milton  was  the  publication 
of  An  Historical  and  Critical  Account  of  the  Life  and  Writings  of 
Charles  I,  King  of  Great  Britain  (1758),  by  William  Harris  (1720- 
1770),  which  was  then  under  review.  Harris  eonsiilered  "Milton  a 
name  at  all  times  to  be  mentioned  with  honor,""  but  felt  that  he  had 
misrepresented  Charles  I  as  being  lewd.  The  Monthly  Review  thought, 
however,  that  "it  is  no  sliglit  presiuuption  of  tlie  un worthiness  of  the 
Stuart  family,  that  Milton  and  Buchanan,  the  two  greatest  Geniuses  of 
their  ages,  were  their  most  violent  enemies.""''' 

The  way  in  which  Harris  supported  the  cause  of  Miltonic  interests 
was  not  so  much  in  the  matter  of  small  encomiums,  as  in  the  larger 
conceptions  of  his  work.  He  represented  the  school  of  historical  and 
political  thought  tliat  was  opposed  to  that  sui)ported  by  Ilume,  the 
defender  of  the  interests  of  the  Stuart  Kings.  Harris  had  planned  a 
series  of  Histories  on  James  I  (pub.  1753),  Charles  I  (1758),  Oliver 
Cromwell  (1762),  Cliarlt^s  II  (1766),  and  James  II  (unwritten  because 
of  illness).  The  obvious  purpose  of  the  author  was  to  comjjass  tlie  whole 
movement  of  national  politics,  from  the  rise  of  Puritanism  under  James 
I,  to  the  triumph  of  the  Whig  Party  in  the  Revolution  of  1688. 

Little  of  this  treatment  was  sympathetic  with  tlic  royalty  of  that 
troublous  period.  Harris  belonged  to  tlie  group  of  iiithieiitial  writers, 
considered  below  in  Chapter  VI,  who  were  insisting  upon  the  merits  of 
Milton's  political  views  as  a  means  of  national  reform  and  progress. 
Harris  was  him.self  a  nonconformist  tradesman,  llollis  and  Bircli  were 
his  [jcrsonal  friends.  They  secured  for  iiini  the  "I).!).'"  from  the  Uni- 
versity of  Glasgow,  and  rendered  him  valuable  service  in  his  Histories. 
His  historical  method  was  that  of  M.  Bayle,  who  drew  "from  original 
writings  and   State-Pai)ers.""     This  i)lan  was  adopted,  according  to  the 

••'"Cr.  Kev.,  .Xi.ril,   1758,    5:320-3^1. 
=»Mo.  Rev..  May,  i;58,  18:452-461. 


225]  THE  BIOGRAPHICAL   TREATMENT  OF    MILTON  133 

Critical  Review  in  the  reference  already  cited,  iu  the  ease  of  Charles  I, 
for  the  purpose  of  vilifying  that  unfortunate  sovereign.  The  total  effect 
of  Harris's  labours  was  the  development  of  a  semi-radical  atmosphere, 
by  a  consecutive  account  of  that  eventful  period,  favourable  to  the 
advancement  of  the  Miltonic  influences.*" 

Another  historian  who  did  much,  in  the  same  general  way,  for  the 
cause  of  Milton's  political  influence  was  Miss  Catherine  Macaulay,  later 
Mrs.  Graham,  who  wrote  a  History  of  England  from  the  Accession  of 
the  Stuarts,  that  was,  in  general,  as  little  sympathetic  as  those  by  Har- 
ris. She  had  a  passion  for  liberty,  which  was  begotten  and  nourished 
by  the  ancient  sources  of  political  wisdom  that  inspired  the  mind  of  the 
great  Milton.  In  the  introduction  to  the  first  volume  of  her  History 
(1763).  she  said: 

"From  my  early  youth,  I  have  read  with  delight  those  histories,  that  exhibit 
liberty  in  its  most  exalted  state,  the  annals  of  the  Roman  and  Greek  republics.  .  .  . 
Liberty  became  the  object  of  a  secondary  worship  in  my  delighted  imagination." 

Under  this  inspiration,  she  became  a  recognized  champion  of  lib- 
erty. Like  Carlyle,  and  most  other  dreamers  of  better  things  in  the 
political  world,  Miss  Macaulay  used  the  selective  method  in  treating 
history,  utilizing  historical  materials  very  largely  to  illustrate  and  en- 
force her  own  convictions.  The  field  chosen  for  the  work  now  considered 
furnished  large  scope  for  such  selection,  and  she  entered  upon  the  work 
with  characteristic  enthusiasm.  One  can  feel  a  conscious  antipathy  to 
the  work  of  Hume,  wlieu  she  says  that  she  writes  "to  do  justice  to  the 
memory  of  our  illustrious  ancestors,  still  having  an  eye  to  public  lib- 
ertj'."  She  spoke  of  "party"  as  "that  hell  of  liberty,"  and  .stood  firm 
for  the  limitation  of  royal  power.  ' '  Whosoever  attempts, ' '  she  affirmed, 
"to  remove  the  limitations  necessary  to  render  monarchy  consistent 
with  liberty,  are  rebels  iu  the  worst  sense;  rebels  to  the  laws  of  their 
country,  the  law  of  nature,  the  law  of  reason,  and  the  law  of  God." 
She  hated  Cromwell,  as  a  usurping  tyrant,  but  honored  Milton,  as  one 
of  the  greatest  champions  of  liberty,  and  fondly  dreamed  upon  his 
devotions  and  sacrifices  in  that  greatest  of  causes.*^ 

In  1777  John  Bell  (1745-1831)  considered  Milton  "too  well  known 
to  need  a  Life"  iu  the  British  Theatre."  But  the  customary  way  of 
subduing  tlie  harsher  elements  of  Milton's  public  and  private  life, 
together  with  overmuch  praise  of  him  as  the  champion  of  English  lib- 

^''Harris's  Histories  were  popular.  .Ml  of  them  were  reprinted  in  1772,  and  his 
works  were  collected  in   1814. 

■"'For  her  feeling  toward  Milton,  see  Appendix  C.  Her  influence  for  liberty 
must  have  been  considerable,  if  one  may  judge  from  contemporary  interests  in  her 
views.  Cr.  Rev.,  1763,  16:321-330;  and  April,  1790,  69:386.  Mo.  Rev.,  Nov.,  1763, 
29-372-3S2;  May,  1769,  40:355. 

*^British  Theatre,  ed.,  1779,  I,  iv-v. 


134  THE    MILTON    TRADITION  [226 

erty,  had  led  Dr.  Johnson  to  feel  that  a  good  solid  Tory  Life  of  Milton 
was  iiiueb  in  demand.  Johnson  seems  to  have  felt  very  early  the  power- 
ful bearings  of  Jlilton's  infiiieuee  upon  public  life  and  was  never  wholly 
sjonpathetic.  On  the  contrarj%  in  1749,  he  joined  hands,  to  the  regret 
of  all  his  admirers,  with  Lauder's  attack  upon  "The  blind  worshipers" 
of  tliat  eminent  poet.*^  Since  that  time,  the  growth  of  tlemocracy,  lib- 
eralism in  religion,  and  the  Romantic  tendencies  in  literature,  had 
exasperated  the  Doctor  against  the  adoration  of  Milton.  Perceiving 
that  ]\Iilton's  influence  was  central  to  the  new  and  powerful  "move- 
ment,'" Dr.  Johnson  threw  himself  across  the  current  of  that  movement, 
in  an  un.sympathetic  Life  of  Milton  (1779),  which  appealed  to  almost 
every  possible  source  of  prejudice  against  the  poet-politician.''^ 

Johnson  showed  himself  familiar  with  all  that  had  been  said  about 
Milton ;  and  the  Life  moves  with  a  stately  flow  of  ideas  indicative  of 
mastery.  The  biographer  succeeded  also  in  marshaling  his  materials 
directly  upon  his  desired  goal  of  writing  Milton  down.  Looked  at  in 
broken  segments,  the  life  of  Milton  is  at  times  open  to  adverse  criticism. 
His  integrity  stands  unshaken,  more  perhaps  than  that  of  any  other 
man,  only  in  the  full  circle  of  his  career  and  message  to  the  world.  Of 
this  fact  Dr.  Johnson  undoubtedly  took  no  small  advantage.  With  an 
air  of  caudoiir  and  fidelity,  he  seems  to  have  studied  tlie  jjossibilities 
for  prejudice  against  Milton,  and  to  have  left  unused  no  opportunity 
for  suggestions  and  insinuations  that  reflected  upon  the  character  of  the 
man.  Evidently  the  biograi)lu'r"s  intention  was  to  counteract  the  influ- 
ence of  Milton  by  contradicting,  wherever  possible,  the  accepted  estima- 
tion of  the  man  and  his  works. 

Upon  Milton  as  the  author  of  Paradise  Lost  Johnson  bestowed  judi- 
cious praise.  Tliat  poem  he  would  not  have  written  other  than  in  blank 
verse.  With  patriotic  pride  tliat  overrides  all  prejudice,  the  Doctor 
speaks  of  the  poem  in  these  words: 

**Chapter  vi,  p.  190. 

^''Johnson's  Life  of  Milton,  with  all  its  Tory  bitterness,  then  regarded  an  out- 
rage upon  the  poet,  is  today  tlic  best  known  of  all  the  Lives  of  Milton  written  dur- 
ing the  Eighteenth  Century.     This  Life  has  been  published  thus : 

1779        A98  ((EiKj.  Poets).  1793         I.ifes,  4  vols. 

1781        Lives,  4  vols.  1796        ll'ork-s.  u  vols. 

1783        Lives.  4  voh.  1796        A  125   (Parson). 

1787         Works  (Hawkins)  1797        Abridged   edition. 

1790        A  106  (Eng.  Poets).  1800        Lives.  4  vols. 

1790        Lives,  6  vols.  1801         Lives.  3  vols. 

1790-1      Lives.  4  vols.  1801         IVorhs. 

In  the  nineteenth  century— 1804-6,  1806,  :8io,  1816,  1818,  1819,  i8.'5,  1826,  1840, 
1847.  i8S4,  1854,  1858,  1864-5,  1868,  1878,  1886,  1888,  190S. 


227]  THE  BIOGRAPHICAL  TREATMENT  OF    MILTON  135 

"I  am  now  to  examine  Paradise  Lost,  a  /loem  which,  considered  with  respect 
to  design,  may  claim  the  first  place,  and  with  respect  to  performance  the  second, 
among  the  productions  of  the  human  mind  (170).  .  .  .  The  moral  of  other  poems 
is  incidental  and  consequent;  in  Milton's  only  it  is  essential  and  intrensick.  His 
purpose  was  the  most  useful  and  most  arduous :  'to  vindicate  the  ways  of  God  to 
man';  to  shew  the  reasonableness  of  religion,  and  the  necessity  of  obedience  to  the 
Divine  Law   {Life  of  Milton,  Hill,  vol.  I,  p.  171). 

"In  this  part  of  his  work  (the  Fable)  Milton  must  be  confessed  to  have 
equalled  every  other  poet.  He  has  involved  in  his  account  of  the  Fall  of  Man 
the  events  which  preceded,  and  those  that  were  to  follow  it :  he  has  interwoven  the 
whole  system  of  theology  with  such  propriety  that  every  part  appears  to  be  neces- 
sary, and  scarcely  any  recital  is  wished  shorter  for  the  sake  of  quickening  the 
progress  of  the  main  action"  (171). 

Johnson  exalts  Milton's  subject  as  involving  "the  fate  of  worlds" ;  and  his 
persons  as  clothed  with  a  "greatness"  before  which  "all  other  greatness  shrinks 
away."  "The  weakest  of  his  agents  are  the  highest  and  noblest  of  human  beings.  .  .  . 
Of  the  other  agents  in  the  poem  the  chief  are  such  as  it  is  irreverence  to  name  on 
slight  occasions.  The  rest  were  lower  powers  .  .  .  .which  only  the  controul  of 
Omnipotence  restrained  from  laying  creation  waste,  and  filling  the  vast  expanse  of 
space  with  ruin  and  confusion.  To  display  the  motives  and  actions  of  beings  thus 
superiour,  so  far  as  human  reason  can  examine  them  or  human  imagination 
represent  them,  is  the  task  which  this  mighty  poet  has  undertaken  and  per- 
formed" (172). 

The  questions  of  character,  probability,  supernatural  machinery,  episodes,  and 
integrity  of  design,  Johnson  disposed  of  very  briefly,  as  either  involved  in  the 
nature  of  the  subject  or  else  fully  meeting  the  Aristotelian  requirements  (172-5). 
The  sentiments,  too,  were  found  "for  the  greater  part  unexceptionably  just"  (176). 
In  Milton  every  line  breathes  sanctity  of  thought  and  purity  of  manners,  except 
when  the  train  of  the  narration  requires  the  introduction  of  the  rebellious  spirits; 
and  even  they  are  compelled  to  acknowledge  their  subjection  to  God  in  such  a  man- 
ner as  excites  "reverence  and  confirms  piety"   (179). 

Johnson  recognizes  some  "defects  and  faults"  in  Paradise  Lost,  but  refused 
to  make  long  citations ;  "for  what  Englishman",  said  he,  "can  take  delight  in 
transcribing  passages,  which,  if  they  lessen  the  reputation  of  Milton,  diminish  in 
some  degree  the  honour  of  our  country?"  (181).  After  some  cen^sures,  which  are 
in  the  main  just  enough,  the  Criticism  closes  with  this  statement:  "Such  are  the 
faults  of  that  wonderful  performance  Paradise  Lost;  which  he  who  can  put  in 
balance  with  its  beauties  must  be  considered  not  as  nice  but  as  dull,  as  less  to  be 
censured  for  want  of  candour  than  pitied  for  want  of  sensibility."   (188). 

But  otherwise  the  Poet  fared  not  so  well  in  these  Tory  hands. 
Johnson  denied  to  Milton  any  serious  concern  in  liberty  for  others  than 
him.self.*"     Referring  to  Milton's  spirit  of  controversy,  the  biographer 

^"Johnson's  Lives  of  the  English  Poets:  Milton  (1779).  Edited  by  G.  B.  Hill, 
vol.  I.   (paragraphs)   36  and  170. 


136  THE    MILTOX    TRADITION  [228 

said,  "Such  is  his  malignity  'that  hell  grows  darker  at  his  frown.'  "*' 
Johnson  considered  Milton  as  a  slave  to  Cromwell,  "his  services  and 
his  flatteries  (sold)  to  a  tyrant.''^*  He  regarded  ililton's  theology  as 
mainlj^  negative,  played  heavily  upon  the  dangers  of  being  "of  no 
church,"  and  severely  assailed  Milton's  religious  life.*^  "His  political 
notions  were  those  of  an  acrimonious  and  surly  republican."  "Milton's 
republicanism  was,  I  am  afraid,  founded  in  an  envious  hatri'd  of  great- 
ness, and  a  sullen  desire  of  independence."'"'  In  the  worst  light  possible 
the  author  represented  Milton  the  politician  and  man  of  affairs. 

For  the  poetiw,  other  than  Paradise  Lost.  Johnson  had  small  praise. 
Comus  was  considered  tlie  best  of  the  early  poems,  but  a  dramatic 
failure  for  want  of  probability.  In  reading  the  Companion  Poems 
Johnson  admitted  a  genei-al  pleasure,  and  allowed  them  to  be  "two 
noble  efforts  of  the  imagination".  But  beyond  these  notes  of  praise 
he  found  little  to  commend. 

Outside  of  I^aradise  Lost  Johnson  denied  to  i\lilton  tlie  rank  usually 
attributed  to  him.  Except  in  the  case  of  Comus,  the  biographer  denied 
that  the  Minor  Poems  furnish  any  definite  promise  of  the  future  excel- 
lence of  Paradise  Lost,  though  he  had  felt  a  forecast  of  the  Epics  in  the 
Pro.S(!  Writings.  Wliile  granting  to  the  earlier  jioetry  the  evidence  of 
genius,  in  "that  thej*  liave  a  cast  original  and  unbori'owed,"  he  denied 
that  their  peculiarity  was  excellence:  "if  they  differ  from  the  verses  of 
others,  they  differ  for  the  worse;  for  they  are  too  often  distinguished 
for  repulsivi*  hai-sliness."  He  denied  to  the  whole  group  of  Minor 
Poems  any  independent  vitality,  and  thought  their  popularity  due  to 
the  reputation  and  influence  of  the  Major  Poems.  He  even  carried  his 
contradictions  to  the  extreme  of  selecting  Lycidas,  which  most  other 
biograiihcrs  had  specially  praised,  as  the  sjjccial  object  of  his  bitterest 
con(k'iiiiiation. 

Even  Johnson  him.self  must  have  been  surprised  at  the  results  of 
this  biograpliical  and  critical  venture.  His  madness,  so  full  of  Tory 
method,  .served  only  to  bring  the  wrath  of  the  Milton-loving  English 
people  U|)0ii  liis  own  head.  Under  tliis  general  re-aetioii  may  l)e  sum- 
marized what  remains  that  was  distinctive  in  the  biographical  interests 
of  the  century. 

Four  years  after  Jolmson's  al)nse  of  Milton,  Dr.  Robert  Anderson 
(1750-1830)  pul)lislied  tlie  fifth  volume  of  Tlu  Works  of  ihv  British 
Pods,  which  contains  the  Poetical  Works  of  Milton,  with  an  introduc- 
tory Life,  Iiy  the  editor.     The  Life  was  written  in  a  spirit  of  symjiatliy 

"Ibid.,  50. 
*"/&i"rf..  173. 
"/foiU,  165-167. 
'■xibid.,  168-169. 


229]  THE  BIOGKAITIICAI.   TREATMENT  OF    MILTON  137 

with  Miltou.  Dr.  Anderson  displayed  both  a  keen  sense  of  poetical 
values,  and  a  just  sense  of  historical  facts.  The  work  was  justly  praised 
by  contemporary  criticism,''  and  was  doubtless  felt  to  be  a  defence  of 
Milton  from  the  aspersions  of  Dr.  Johnson. "'- 

The  defence  of  Milton  was  very  seriously  undertaken,  in  a  con- 
structive manner,  by  William  Hayley  (1745-1820),  in  his  Life  of  Milton, 
written  for  the  great  Cowper-Hayley  Edition  of  Milton's  Poetical 
Works,  printed  by  Boydell  and  Nichol,  in  1794.  This  Life  was  justly 
popular,  both  for  its  intrinsic  merits,  and  its  excellent  justification  of 
Miltou  from  the  strictures  and  abuses  of  Dr.  Johnson.''^  The  place  that 
this  Life  occupied  in  the  thought  of  the  time,  may  very  well  be  suggested 
by  the  following  notice  of  the  work  in  the  Monthly  Review: 

"Though  the  memory  of  few  authors  has  received  the  homage  of  more 
biographical  tributes  than  that  of  Milton,  yet  the  public  will  probably  think  them- 
selves obliged  to  the  spirited  undertakers  of  the  present  splendid  edition  of  his 
poetical  Works,  for  having  engaged  a  writer  so  justly  esteemed  as  Mr.  Hayley,  to 
compose  a  new  life  of  that  'immortal  man,'  who  was  the  glory  of  his  age  and 
country. 

"According  to  Mr.  Hayley's  own  declaration,  his  chief  purpose  (is)  to  give 
such  a  delineation  of  Milton's  life  as  might  'rather  make  him  more  beloved  than 
more  admired;'  and  to  exhibit  him  as  no  less  'a  model  of  superior  virtue,'  than  as 
an  example  of  unrivalled  genius.' 

"After  all,  is  it  necessary  that  the  serious,  the  learned,  the  lofty,  the  sublime 
Milton,  the  severe  disciplinarian,  the  zealous  champion, — in  fine,  the  writer  of  Para- 
dise Lost,  should  be  the  most  amiable  of  mankind?"  Milton  was  held  to  be 
"adorned  with  every  graceful  endowment,  highly  and  holily  accomplished."''* 

John  Bell  prefixed  an  outline  sketch  of  Milton's  life  to  Samson 
Agonistes,  in  the  British  Theatre  (vol.  34,  1796).  Three  years  later,  the 
Eev.  John  Evans  (1767-1827)  published  a  sketch  of  the  Life  and  Writ- 
ings of  John  Milton,  with  an  edition  of  Paradise  Lost  (1799).  The 
period  closed  with  the  Life  of  Milton,  more  learned  and  comprehensive 
than  any  that  had  gone  before,  prepared  by  the  Rev.  Henry  J.  Todd, 
for  his  variorum  edition  of  Milton's  Poetical  Works  (1801). 

One  scarcely  feels  like  closing  the  account  of  Milton's  Life  with- 

"Cr.  Rev.,  Jan.,  1799,  n.s.  2:40-50. 

^-A  Volume  of  Letters  from  Dr.  Berkeithout  to  his  Son  at  the  University 
(1790),  has  short  biographical  Sketches  of  Bacon,  Milton,  Newton,  and  Locke, 
designed  to  show  that,  in  spite  of  wasteful  methods,  still  one  may  acquire  much 
learning  at  Oxford  and  Cambridge.     Cr.  Rev.,  July,  1791,  n.s.  2:  323-329. 

'•^The  Life  of  Milton,  by  Hayley,  was  printed  with  The  Poetical  Works  (1794)  ; 
with  the  Conjectures  on  the  Origin  of  Paradise  Lost,  London,  7796,  Dublin,  1797, 
Basil,  1799;  and  with  Adam:  a  Sacred  Drama  (1810). 

'^■'Mo.  Rev.,  Feb.,  1795,  97(16)  :I2I-I25.  Cf.  Mar.,  1796,  100(19)  :252-2S5.  Cr. 
Rev.,  May,   1795,  n.s.  14:1-13. 


138  THE    MILTON    TRADITION  [230 

out  citing  the  following  passages  from  John  Aiken's  Letters  on  Taste 
for  Poetry  (1798-99),  wliicli  sliow  that  confidence  was  restored,  and 
Milton  triumphant: 

"It  is  not  my  purpose  to  go  through  an  enumeration  of  the  principal  poets  of 
different  nations  who  have  contributed  to  raise  and  purify  the  sentiments  of  man- 
kind ;  but  it  would  be  unpardonable  to  pass  in  silence  the  first  of  the  list,  our 
immortal  Milton.  The  unparalleled  sublimity  which  distinguislies  his  conceptions  on 
all  topics,  so  peculiarly  marks  his  moral  and  religious  ideas,  that  if  it  be  possible 
for  verse  to  operate  as  a  charm  against  all  that  is  mean,  groveling,  and  corrupt 
in  our  nature,  his  are  the  strains  from  which  this  benefit  might  be  expected.  Of 
his  Paradise  Lost,  Dr.  Johnson  testifies  that  'every  line  breathes  sanctity  of 
thought  and  purity  of  manners,'  and  though  his  Coiiius  and  Saiuson  Agonistes 
are  not  well  calculated  for  dramatic  effect  on  the  stage,  yet  in  the  closet,  the 
first,  by  its  lofty  morality,  and  the  second  by  its  preceptive  wisdom,  are  capable  of 
affording  instruction  and  pleasure  in  a  supreme  degree.  A  relish  for  the  works 
of  Milton  is  not  only  a  test  of  sensibility  to  the  more  exquisite  beauties  of  poetry; 
but  a  kind  of  measure  of  the  exaltation  of  the  mind  in  its  moral  and  religious 
sentiments."'-' 

These  biographies,  as  a  rule,  show  more  marks  of  enthusiasm  than 
of  seliolarship,  the  obvious  tendency  being  to  repeat  the  more  prominent 
outlines  of  the  poet's  life,  with  a  filling  of  details  that  was  visually 
determined  by  the  temper  of  the  biographer.  The  Lives  were  not  with- 
out some  evidence  of  research,  and  the  total  residts  of  this  kind  were 
sufticient  to  make  possible  the  exhaustive  labours  of  Professor  David 
Masson  in  the  Nineteenth  Century.  The  very  personal  element  in  these 
Lives  was  perhaps  a  better  index  to  the  Miltonie  interests  of  the  eight- 
eenth century  than  more  .scholarly  labours  might  have  been. 

These  indexes  into  the  mind  and  heart  of  the  eighteenth  century 
show  a  constantly  gi'owing  sympathy  with  Milton.  Old  prejudices  more 
and  more  passed  away.  Political  animosities  were  gradually  softened, 
except  for  party  reasons  among  tlie  Tories,  on  account  of  jMilton's  rising 

^^Lctters  of  a  Father  to  His  Sou   {lygS-ijij),  vol.  II.     Letter  v,  268-70. 

Aiken  did  not  hesitate  to  expose  Johnson's  inconsistency  in  criticizing  Milton 
and  Watts.  "It  is  properly  observed  by  Dr.  Jolmson,''  said  ,\ikiii.  "that  Milton's 
excellence  in  these  particulars  was  greatly  owing  to  his  familiar  acquaintance  with 
the  Scriptures:  and  indeed  the  subjects  of  Paradise  Lost  and  Paradise  Regained 
arc  so  entirely  scriptural,  that  he  could  not  fail  of  imbibing  their  spirit  as  he 
wrote.  How  extraordinary,  then,  does  it  appear,  that  the  above  mentioned  critic, 
whose  veneration  for  the  Hebrew  writing  can  scarcely  be  questioned,  should  ex- 
press such  an  unqualified  disapprobation  of  that  alliance  of  poetry  with  devotion 
which  is  so  peculiarly  their  characteristic." 

Here  he  quoted  Johnson's  strictures  on  Watts'  devotional  poetry  as  "unsatis- 
factory," and  poinlcil  out  the  highly  poetic  and  liginalive  charactir  i^f  the  Old 
Testament   Poetical  Rooks. 


231]  THE  BIOGRAPHICAL   TREATMENT  OP    MILTON  139 

influence.     The  man  Milton  emerged  from  political  confusions  and  bio- 
graphical obscurity.    The  Poet  rose  into  full  splendour.    Finally  Milton  i 
was  known,  loved,  and  honored  throughout  the  nation. 

The  biographers  of  Milton  tended  at  first  to  find  the  man  in  his 
prose  writings,  and  Milton  was  therefore  pre-eminently  a  politician  and 
a  controversalist.  Later  they  found  the  man  more  especially  in  his 
verse.  Then  he  was  pre-eminently  a  poet, — the  pride  of  England,  and 
the  envy  of  other  nations.  Finally  his  biographers  found  the  full  man 
in  his  prose  and  his  poetry,  a  man  with  one  great  message,  the  champion 
of  what  he  thought  sublimely  good  for  all  nations  and  for  all  times. 
Then  Milton  was  the  poet-politician,  who  walked  on  the  earth,  but 
breathed  a  celestial  atmosphere,  who  saw  things  in  their  eternal  rela- 
tions, and  spoke,  with  authority,  to  Man,  of  Man,  and  for  Man. 

With  complete  unanimity  Milton's  biographers  exalt  Paradise  Lost 
as  the  greatest  achievement  of  his  life.  For  almost  half  of  the  period 
under  consideration,  attention  to  the  Minor  Poems  was  largely  directed 
toward  their  historical  significance.  They  were  mere  facts  in  Milton's 
early  life.  Among  the  early  poems,  those  that  did  receive  a  measure  of 
special  notice  were  Comiis  and  Lycidas.  This  notice  was  always  favour- 
able, until  Dr.  Johnson  made  these  particular  poems  the  special  object 
of  his  bitterness.  But  one  is  made  to  feel  that  Johnson's  attack  upon 
Milton  was  a  sort  of  bitter  farewell,  which  hurt  the  Doctor's  reputation 
more  than  it  did  that  of  Milton. 

On  the  side  of  mere  historical  facts,  the  Minor  Poems  tended  to 
lose  their  distinction  in  view  of  the  increasing  volume  of  biographical 
content  that  was  discovered  in  the  Epics  and  Samson  Agonistes.  But 
this  was  compensated,  in  part  at  least,  by  the  growing  attempt  to  trace 
the  poetical  genius  of  Milton  in  those  earlier  stages  of  development. 
But  his  biographers  came  more  and  more  to  find  the  serious  Milton, 
who  was  so  much  adored,  in  the  sublime  spiritual  unity  of  his  whole 
message  of  virtue  and  liberty, — which  message,  flashing  at  times  in  the 
earlier  poems,  was  worked  out  by  Milton  in  the  labours  of  the  civil 
strife,  and  finally  glorified  by  liis  poetical  genius  in  his  post-Restoration 
poetry. 

The  Minor  Poems  did  come  to  have  considerable  interest  for  bio- 
graphical criticism;  but  this  rising  interest  must  always  be  seen  in  its 
proper  proportions.  It  is  not  always  remembered,  that  where  biogra- 
phers accord  the  praise  of  paragraplis  and  pages  to  the  Minor  Poems, 
they  are  at  the  same  time  writing  whole  commentaries  on  Paradise  Lost 
and  even  on  Paradise  Regained.  Such  formal  propoi'tions  of  praise  as 
those  worked  out  by  Richardson,  Peck,  Newton,  and  Johnson,  must  be 
duh'  observed  if  one  would  arrive  at  any  just  estimate  of  the  relative 
values  of  the  several  poems  in  tlie  minds  of  the  biographers  of  Milton. 


CHAPTER  V. 
Criticism  of  Milton.    To  1730.    Milton's  Rank  Established 

The  general  title  of  Criticism  is  given  to  this,  and  the  succeeding 
chapters  under  this  running  title,  because  that  is  the  dominant  element 
in  this  new  survey  of  the  period  under  review.  The  term  is  used,  how- 
ever, in  its  wider  connotation,  to  include  any  forui  of  individual  or  na- 
tional expression  that  tends  to  define  the  values  of  Milton.  The  sub-title 
of  this  chapter  indicates  the  main  thing  accomplished  by  sucW  critieisni\ 
up  to  about  the  year  1730.  This  was  the  time  when  most  of  the  concern  I 
for  JMilton  was  expended  upon  the  question  of  liis  place  and  rank  among  I 
the  men  of  letters.  — -^ 

During  this  earlier  period  the  Minor  Poetry  of  Milton  scareelj' 
formed  a  consideration  in  respect  to  his  reputation.  The  Poems  on 
Several  Occasions  were  jjublished  in  1()4.'3,  and  again  in  1673.  Some  of 
them  were  utilized  by  Robert  Baron,  iu  the  Cyprian  Academy  (1649)  ; 
and  by  Joshua  Poole,  in  The  English  Parnassus  (1657,  1677).  They  were 
known,  and  noticed  to  some  extent  iu  biograi)hy'  and  criticisms ;  but 
they  are  consi)icuous  luainly  for  the  want  of  attention  they  received 
during  this  period. 

Humphrey  Moseley,  printer  of  tlu'  1645  edition,  recognized  the 
unusual  merit  of  these  poems,  and  commended  them  very  highly  in  his 
"Preface  To  Tlie  Reader."-  Previous  to  tliis  edition,  Coniiis  had  been 
"viewed  witii  singular  delight,"  and  praised,  by  8ir  Henry  Wotton 
(1568-1639),  for  a  "certain  Doric  delicacy  in  the  songs  and  odes,"  in  a 
Letter  To  Milton,  wliieli  the  young  Poet  took  pride  in  having  printed  in 
tliis  first  edition  of  liis  i)oeuis.'     Lycidas  had  also  beeu  complimented  as 

'See  Chapter  iv,  on  Biography. 

-Quoted  with  coniniciidation,  by  Thos.  Birch,  in  his  Life  of  Milloii  (1738^. 
Comp.  Prose  ]Vks.  of  Milton  (173S),  I,  x.wi.    See  p.  126  above. 

"Milton  had  sent  Wotton  a  copy  of  the  Masque,  and  this  Letter  (April  i,i, 
1638)  was  the  old  friend's  re-action  to  the  poem.  L.  P.  Siiiitli,  Life  and  Letters 
of  IVollon,  I,  220;  II,  381.  Thomas  Warton  criticised  this  Letter  as  not  reaching 
"to  the  higher  poetry  of  Coitius,"  which  he  defined  as  the  "graver  and  more  majes- 
tic tones,  the  solemnity  and  variety  of  its  peculiar  vein  of  original  invention." 
Milton's  Poems,  ed.   1791,  p.  iv,  and  1 18-122. 

140 


233]  CRITICISM     OF     MILTON  141 

it  appeai'ed  to  Wartoii,^  in  that  it  was  placed  last  iu  the  original  volume 
"In  Memory  of  Edward  King."  But  by  the  time  Milton's  Poems  ap- 
peared in  1645,  England  was  too  seriously  concerned  with  other  mat- 
ters to  give  much  attention  to  poetry. 

After  the  Restoration,  the  poems  were  not  generally  re-discovered. 
Milton's  friends  knew  and  mentioned  them;  but  the  edition  of  1673 
created  no  perceptible  stir  even  among  Milton's  admirers.  About  this 
time,  or  later,  Waller,  who  found  in  Paradise  Lost  "some  fancy  and 
bold  invention,"  but  was  "better  pleased"  with  Lycidas,  sent  a  copy  of 
that  poem  to  St.  Evremond.  who  was  then  in  England.  St.  Evremond 
read  the  poem  with  delight,  and  reported  it  "to  be  in  the  true  spJTit_Q£_ 
pastoral  poetry,  the  old  Arcadian  enthusiasm,"  and  to  be_£apficially  -> 
fixcellenlTin  "the  various  and  easy  flow  oLit"  ""inbers  .  TTwell  adapted 

to  the  tender  kind  of  imagery,  tho'  not  expressive  of  tlie-first  strong 

inTjTressions  of  grief. '  "> 

Late  in  the  century  (1693)  Dryden  called  attention  to  these  Juve- 
nalia  as  a  proof  of  Milton's  inability  to  handle  rhyme."  Congreve,  in 
The  Mourning  Muse  of  Alexis, 

Sung  at  Comus'  feast ; 
While,  in  a  ring,  the  jolly  rural  throng 
Have  sat  and  smiled  to  hear  my  cheerful  song.' 

Toland  exalted  Comus  and  Lycidas,  briefly  but  definitely,  in  his  Life  of 
Milton  (1698)  ;  and  Addison  mentioned  Comus,  with  favor,  some  years 
later.* 

Addison  cited  also  Milton's  description  of  Laughter,  in  L' Allegro, 
as  "finely"  drawn;  and  a'year  later,  in  "sweet  retirement,"  he  "natu- 
rall.y  fell  into  the  repetition  of  some  lines  out  of  a  poem  of  Milton's, 
which  he  entitles  II  Pcnscroso,  the  ideas  of  wliich  wei-e  exquisitely  suited 
to  (his)  present  wanderings  of  thought."''  Langbaine  dared  to  indicate 
Dryden's  indebtedness  to  Samsoit  Agonistes  (1691),'"  and  Charles  Gil- 

■•Warton's  Milton,  p.  38. 

^Letters  of  M.  De  St.  Evremond  (1610-1703)  and  Mr.  Waller  (1606-1687). 
London,  1710.  Letters  xxviii  and  xxix,  pp.  98-107.  See  W.  M.  Daniels,  St.  Evre- 
mond on  Englcterre,  1907. 

'^Origin  &  Progress  of  Satire  (1693).     Essays  (Ker),  II,  29-30, 

'Wm.  Congreve  (1670-1729).     Chalmers,  Eng.  Poets,   10:269-271. 

^Poems  by  Allan  Ramsay,  1731.    II,  99.     Gent.  Mag.,  8:152. 

^Spec.  249,  Dec.  15,  1711  (Allegro,  11-40);  425,  July  8,  1712  (Penseroso,  61-72, 
147-54)  •    Warton's  Milton,  1791,  pp.  ix-x. 

^"Essay  on  Dryden  (From  the  Eng.  Dra.  Poets).  J.  E.  Spingarn,  Crit  Essays 
of  the  17th  Cent.,  Ill,  131.  Half  a  century  later  it  was  felt  that  Dryden  had  made 
too  free  use  of  Samson  in  the  .4ureng-Zebe.  Lloyd's  St.  Jas.  Mag.,  Oct.,  1762, 
I  :  149-152- 


142  THE    MILTON    TRADITION  [234 

dou  found  in  it  an  excellent  variety  of  iminbers;"  while  Bishop  Atter- 
bury,  a  friend  of  Pope,  but  an  admirer  of  Milton  and  blank  verse,  'felt 
that  Samson  was  written  "in  the  very  spirit  of  the  Ancients,"  and  was 
"capable  of  being  improved,  with  little  trouble,  into  a  perfect  model 
and  standard  of  tragic  poetry,"  and,  therefore,  recommended  Pope  to 
"polish"  tlie  tragedy  into  this  ideal  form.'- 

As  early  as  1691,  a  writer  in  The  Athcnum  Mercury  attempted  to 
decide  the  rank  and  relative  merits  of  Milton  and  Waller.  The  former 
was  pronounced  ' '  the  fullest  and  loftiest ; ' '  the  latter  ' '  the  neatest  and 
most  correct  Poet  we  ever  had."  This  judgment  of  Milton  was  based 
mainly  upon  Paradise  Lost,  which  was  splendidly  treated  at  some  length. 
Samson  was  also  exalted ;  "and,  to  say  nothing  of  his  Paradise  Regained, 
whereof  he  had  only  finished  the  most  barren  parts,  in  his  Juvenile 
Poems,  those  on  Mirth  and  ilelancholy,  ati  Elegy  on  his  Friend  that 
was  drowned  and  especially  a  Fragment  of  the  Passion,  are  incompara- 
ble."" Bej'ond  this  estimate,  there  was  iio  advance  until  that  of  Elijah 
Fenton,  in  his  Life  of  Milton  (1725).  Fenton  had  recommended  Lycidas 
and  the  Companion  Poems  for  Dryden's  Miscellany  (1716).  These,  with 
Comus,  he  declared  in  the  Life,  were  sufficient  to  insure  Milton's  im- 
mortality. 

The  attitude  toward  Milton's  Minor  Poems  was  thus  one  of  com- 
parative indifference.  That  toward  his  Prose  Writings  was  positively 
detrimental,  as  a  rule,  to  any  sort  of  savory  reputation.  Tliis  earlier 
period  covers  the  life-time  of  two  generations,  neither  of  which  was 
ever  reconciled  to  Milton's  politics.  The  first  of  these  generations, 
somewhat  maliciously  prolonging  the  old  controversies  which  had  called 
forth  most  of  Milton's  Prose  Works,  read  those  works  mainly  for  purposes 
of  refutation.  It  was  not  enough  tliat  Milton's  works  should  be  burned  :" 
they  must  also  be  answered.  One  may  find,  therefore,  such  publications 
as  The  Dignity  of  Kingship  Asserted,  in  Reply  to  Milton's  Common- 
ivealth  (1660);'"  and  The  Freeholders  Grand  Inquest  (1679),  with  its 
reflections  concerning  the  Original  of  Clovernment  upon  Mr.  Milton 
against  Salmasius.     The  chief  characteristic  of  these,  and  similar  ])ub- 

"The  Complete  Art  of  Poetry,  171S,  pp.  300-303. 

i=Francis  Attcrbury.  The  Bishop  of  Rochester  To  Pope.  The  U'hs.  of  Pope 
(Elwin-Courthope),  IX,  p.  49. 

^^The  Athenian  Mercury  (Jan.  16,  1691).    Athenian  Oracle  (1702),  1:477. 

'*The  Defence  of  the  English  People  and  Icon  Basilikc  were  burned  in  France 
(1651),  and  in  England,  by  the  common  hangman,  .\ur.  13.  1660. 

'"By  George  Searlc.  For  other  snch  matters,  see  Clarcndon'.s  Letter  to  Gauden 
(March  13,  1666)  ;  and  the  Letter  to  the  Archbishop  of  Contcrhury  Concerning  the 
Authorship  of  Icon  Basilike.  Todd,  Life  of  Milton,  p.  21  ;  Johnson's  Life  of  Cow- 
ley (Hill),  I,  S6. 


235]  CRITICISM    OP    MILTON  143 

lications,  was  personal  and  political  malice. 

There  were,  of  course,  some  who  dared  to  be  friends  with  Milton, 
even  in  relation  to  his  Prose.  Andrew  Marvell,  whose  friendship  found 
many  forms  of  expression,  feeling  perhaps  that  there  was  little  else  to 
defend  at  that  time,  undertook  a  spirited  defence  of  Milton's  scholar- 
ship, in  a  licply  to  Parker.^"  The  change  that  came  with  the  Revolu- 
tion (1688)  made  it  possible  for  Phillips  to  publish  Milton's  Le^iers  of 
State  (1694),  a  privilege  denied  to  Aylmer  in  1674.  While  Phillips  had 
a  conciliatory  introduction,  yet  he  ventured  to  prophesy  the  future  his- 
torical value  of  these  Letters.  Four  j-ears  later  the  daring  and  liberal 
pen  of  John  Toland  commended  the  political  writings  of  Milton  in  the 
Life  of  that  author  (1698). 

But  the  old  attitude,  as  a  rule,  was  dominant.  The  fathers  with 
their  feelings  of  personal  animosity  had  passed  away.  But  their  chil- 
dren were  still  convinced  that  Milton  had  prostituted  his  great  powers 
in  those  political  and  other  controversial  writings."  An  important 
example  of  this  indiscriminate  condemnation  was  evident  in  the  words 
of  Aaron  Hill,  at  the  very  end  of  this  earlier  period  (1730).  He  de- 
clared that  he  would  venture  to  pick  out  his  friends  and  enemies  by 
setting  them  to  read  Milton  and  Cowley.  He  would  "be  afraid  of  his 
heart,  who,  in  the  fame  and  popularity  of  Milton,  could  lose  sight  of 
his  malice  and  wickedness ; ' "  and  he  would  not  fear  to  throw  open  his 
breast  to  one,  "who,  in  contempt  of  the  fashion  we  are  fallen  into,  of 
decrying  the  works  of  Cowley,  could  have  the  courage  to  declare  himself 
charmed,  by  both  the  Muse  and  the  Man.'"^^ 

All  this  political  malice  was  a  burden  upon  Milton's  literary  shoul- 
ders,— a  burden  too  heavy  even  for  him,  had  there  not  been  some  source 
of  strength  j-et  unmentioned.  His  literary  treasures  had  otherwise, 
probably,  been  buried  out  of  sight,  to  adorn  in  time,  of  course,  the  labors 
of  modern  research  and  criticism.  But  the  saving  power  was  present, 
as  was  implied  in  the  last  quotation.  That  power  which  carried  MiltoiT 
aloft  in  spite  of  all  opposition  was  Paradise  Lost,  the  immortal  reposi- 
tory of  all  that  Milton  stood  for  in  poetry,  scholarship,  politics,  and 
religion.  That  poem  proved  to  be  Milton  in  irresistible  form,  the  power 
that  brought  triumph  to  its  author  and  to  all  else  that  he  wrote. 

In  1667,  Milton  published  "Paradise  Lost,  a  Poem  in  Ten  Books;" 
but  the  poem  seems  to  have  attracted  at  the  first  no  special  attention. 
The  publisher  had  paid  only  a  few  pounds  for  the  manuscript,  and, 

^"C.  D.  Cleveland,  CoJiifeiidiuiii  of  Eng.  Lit.,  i86g,  p,  286.  Cf.  Phillips'  Milton 
(1694),  p.  xxxviii. 

''Cf.  Tributes,  21,  23,  32. 

i^Aaron  Hill  (1684-1750).  To  Mr.  Richardson  (June  i,  1730).  Rich.  Corrcsp., 
I,  1-4. 


144  THE    MILTON    TRADITION  [236 


Pp 


perhaps,  had  felt  for  a  time  tliat  the  purchase  was  a  bad  bargain.  The 
first  edition  was  partitioned  into  as  many  as  nine  issues,  it  seems,  and 
put  on  the  market  only  as  there  was  demand  for  the  work. 

Wliile  the  poem  was  gradually  coming  to  be  moi"e  widely  read  and 
freely  discussed,  the  reputation  of  the  work  was  largely  in  the  hands 
_qf  Milton's  personal  friends.  Thomas  EUwood  (1639-1713),  a  student 
and  admirer  of  jMilton,  recorded  half  a  century  later  that  he  had  read 
this  poem  in  the  manuscript,  and  had  made  tiie  suggestion  whicli  led  to 
the  writing  of  Paradise  Regained,^^  which  appeared  with  Samson  Ago- 
iiistes  in  1671.  The  j'ear  that  Paradise  Lost  was  published,  Dryden  is^ 
said  to  have  declared  that  "This  uuui  cuts  us  all  out,  and  the  ancients 
too.'"  Ricliardson  recorded  that  others  atlmired  the  poem  while  it  was 
still  wet  from  the  press.-"  But  the  first  printed  praise  was  that  of  Ed- 
ward Phillips,  Milton's  nephew,  who,  in  e.Kalting  "the  sublimity  of  the 
subject  .  .  .  the  majesty  of  the  style  .  .  .  the  beauty  of  its  images  and 
descriptions,"  represented  himself  as  voicing  the  sentiments  of  others 
quite  capable  of  critical  judgment.-'  Among  those  just  critics,  one  may 
reckon  the  names  of  John  Aubrey,  who  collected  notes  for  an  earl.y  Life 
of  Milton ;  of  Dr.  Paget,  who  may  have  written  the  earliest  Life  of  Mil- 
ton ;  and  of  Andrew  Marvell,  who,  besides  being  interested  in  the  biogra- 
phy of  ililton,  published,  with  Dr.  Barrow,  tiic  exalting  Commendatory 
Verses  of  the  poem,  in  tlie  edition  of  1674.'--  ]\Iilton  himself  had  added 
the  Argutiu  nts  and  the  critical  Preface  on  The  Verse  in  1668;  and  for 
tliis  last  authentic  edition  he  revised  certain  parts  of  the  poem,  and  re- 
divided  it  into  twelve  books. 

No  great  length  of  time  had  passed,  however,  before  Milton  seems  to 
have  been  widely  read,  and  echoes  from  Paradise  Lost  poured  in  from 
all  sides.  Besides  the  Tributes  in  another  cluiiiter,  Thomas  Otway,  in 
his  KpistU  to  Mr.  Duke,  about  tliis  time,  alluded  to  the  iinu)cent  garden- 
scenes  in  Eden.--'  The  Vision  of  Purgatory  (1680)  placed  Milton  in  that 
dismal  region,  to  be  sure;-*  but  the  English  Theophrastus  represented 

^oHist.  of  Thos.  Ellwood,  by  his  oti.')i  Hand  (C.  G.  Crump,  1900).  p.  145. 

="These  stories  are  told  by  Richardson,  Life  (1734),  but  some  of  them  are 
discredited  by  Masson. 

-'Edw.  Phillips  (1630-1696).  Phnisiuin  Poclicarum  ilirsarits.  Quoted  in  the 
Lives  of  the  Phillifses  (Godtvin),  iHi^.  p.  145.  In  the  Theiilniiii  Poctarum  (1675), 
by  Phillips,  Milton  also  received  due  notice. 

=-'Chap.  iv  on  Biography,  and  Tributes  7  and  8.  Marvell  was  remembered  for 
this  early  appreciation  in  1720.  See  an  .\cct.  of  him,  by  Giles  Jacob.  An  Hist. 
Acct.  of  our  most  celebrated  Eng.  Poets  (1720),  II,  p.  98.  Also  Atterbury  To  Pope 
(Nov.  8,  1717),  quoted  by  Birch,  Life  of  Milton  (1738),  I,  p.  i. 

'•■"Thos.  Otway  (1652-1685).    Chalmers,  Eng.  Poets,  8:295. 

2<Edw.  Dowdcn,  Milton  in  the  iSlh  Century.  Proc.  Brit,  .-lead.,  J907-S,  pp. 
276,  and  279. 


237]  CRITICISM    OF    MILTON  145 

the  aspiring  wit  as  passing  by  Shakespeare,  Jonson,  and  Dryden,  to 
admire  "the  incomparable  Milton,"  and  "fondly  endeavor  to  imitate 
his  sublime."  The  transformations  of  Dryden 's  poems,  by  Elkanah 
Settle  in  1682,-''  and  by  Matthew  Prior  in  1687,="  both  made  use  of 
Paradise  Lost.  The  author  of  The  Situation  of  Paradise  Pound  Out 
(1683)  cited  "with  taste  and  judgment  several  passages"  from  Paradise 
Lost  (Bk.  iv),  and  argued  that  Milton  consulted  the  Fathers  in  this 
description  of  Eden.-'  Already  in  1679,  Samuel  Woodford  (1636-1700) 
had  recognized  the  immortality  inherent  in  this  poem,  which  "shall  live 
as  long  as  there  are  men  left  in  our  English  world  to  read  it.  "^^  In 
1680,  the  anonj-mous  translator  of  Jacob  Catsius'  Self-Conflict  placed 
Milton  by  the  side  of  Cowley,^^  and  eleven  years  later  Milton  stood  on 
the  exalted  plane  of  excellence  with  the  "perfect"  Mr.  Waller.^" 

Meantime  English  politics  were  taking  a  turn  that  was  destined  to 
affect  the  standing' of  Paradise  Lost.  The  substantial  spirit  of  the  Eng- 
lish people  could  endure  only  about  so  long  the  Frenchified  Toryism  of 
the  Restoration.  This  period  of  endurance  was  greatly  abridged  by 
the  element  of  national  religion  involved  in  the  position  of  the  restored 
King.  The  re-actionary  forces  gathered  gradually  under  Charles  II, 
and  reached  the  point  of  Revolution  when  James  II  tried  openly  to  foist 
the  Roman  Catholic  Faith  upon  the  English  Nation.  By  this  juncture 
of  affairs  the  balance  of  power  had  swung  around  to  the  Whig  Party, 
who  had  espoused  the  cause  of  Milton's  reputation.  One  result  of  this 
movement  was  the  massive  folio  edition  of  Paradise  Lost  in  1688,  which, 
with  its  five  hundred  honorable  names  appended,  amounted  virtually  to 
a  national  recognition. 

But  a  still  greater  result  was  the  changed  attitude  toward  the  whole 
question  of  Milton's  exaltation.  The  Revolution  brought  William  III 
to  the  throne,  who  did  not  care  to  persecute  the  Puritans.  Indeed,  the 
old  fury  of  the  early  Restoration  was  beginning  to  be  spent;  and  court 
favor  could  no  longer  be  purchased,  by  abusing  the  party  opposed  to 
the  King.  Rapidly  things  had  changed ;  and  one  might,  after  1688, 
praise  Milton  with  assurance  of  at  least  a  semi-national  sympathy  re- 
specting the  exaltation  of  Paradise  Lost.    Men  were  then  privileged  to 

-^Absoloiii  Senior;  or,  Achitophel  Transposed  (1682),  pp.  2-3. 

-''The  Hind  and  the  Panther,  Transvers'd  to  the  Story  of  the  Country  Mouse 
and  the  City  Mouse.  Aldine  Ed.,  11,  p.  332.  Cf.  also  The  Female  Advocate  (1687) 
for  like  familiarity. 

^"Henry  Hare  (1636-1708).     Todd's  Life  of  Milton  (1826),  p.  200. 

-^Preface  to  Paraphrase  upon  the  Canticles  (1679). 

-"Todd's  Life  of  Milton  (1826),  p.  199.  This  translator  argued  that  the  "gold" 
of  the  work  should  not  "be  rejected  because  not  sung  by  a  Cowley  or  a  Milton." 

'"."^ee  note  13  above. 


146  THE    MILTON    TRADITION  [238 

speak  freely  what  many  had  felt,  and  some  had  already  asserted,  re- 
specting the  rank  of  this  great  English  Poet. 

Obviously  enough,  however,  the  fixing  of  literary  rank  is  the  work 
of  criticism,  formal  or  cumulative.  Even  a  Milton  nuist  pass  thi-ough 
the  fires  before  the  pure  gold  is  perfectly  evident.  For  immediate  popu- 
larity, Paradise  Lost  had  the  misfortune  to  fall  on  evil  days,  to  be  born 
out  of  season.  The  critical  standards  of  the  Restoration  had  been  im- 
ported bodily  from  the  French  Classicism  of  that  time.  These  standards 
purported  to  make  and  .iudge  all  literature  by  the  rules  deduced,  in  the 
main  by  Horace,  from  the  standard  writings  of  the  Ancients.  Unavoid- 
ably, the  tendency  was  toward  formality,  regularity,  and  rationalism  in 
general.  But  Milton,  in  Paradise  Lost,  leaped  the  limitations  of  these 
intermediate  rules,  and  found  no  small  part  of  liis  inspiration  immedi- 
ately in  the  ancient  Classics  themselves.  This  fact  was  not  realized  at 
the  time ;  nor  indeed  is  it  quite  certain  that  the  standards  of  that  time 
were  sufficiently  exalted  to  see  and  realize  what  Milton  had  done.  The 
result  was  that  Paradise  Lost  was  first  measured  by  the  rules  in  vogue 
at  the  time  of  its  publication. 

Nor  was  tliis  measurement  very  seriously  undertaken,  as  a  rule. 
More  often  the  poem  was  condemned  unheard,  as  lying  without  the  rank 
of  literature,  and  therefore  deserving  no  rank  at  all.     The  attitude,  in- 
spired more  or  less  by  political  bias,  led  the  French  Embassador,  Comte 
de  Cominges,  to  inform  Louis  XIV,  that  the  only  living  author  of  repu- 
tation in  England  was  "un  nomme  Miltonus,  an  infamous  person,  whose 
writings  would  not  be  to  the  taste  of  the  king.""     Perhaps  little  more 
literary  was  the  feeling  that  prompted  the  classical  R.ymer   (1678)   to 
speak  of  "that  Paradise  Lost  of  Milton's  which  some  are  pleased  to  call 
a  poem."'=    Certainly  it  was  political  bias  that  led  Winstanley  (1687) 
to  deny  to  Milton  any  rank  at  all;  and  this  feeling  may  have  influenced 
Sir  William  Temple   ( 16'J.S-1699),  who  failed  to  mention  Milton  among 
the  heroic  poets  of  modern  times.'' ' 
^        But  rank  Milton  was  destined  to  have,  in  spite  of  French  Neo- 
\  classical  rules.    Among  the  first  to  recognize  this  fact  was  the  poet  John 
V         Dryden,  the  greatest  genius  of  tlie  French  school.    Dryden  saw  at  once 
'  in   ParaduiP  Ijost  the  unmistakable  evidence  of  a  givat  poetic  genius. 
/   But  Dryden  seems  never  to  have  been  able  to  define  critically  the  posi- 

'•' Leslie  Stcplien,  Ilobbes,  p.  58. 

"=Thomas  Rymer  (1639-1713),  Tragedies  of  the  Last  Age  {1678).  J.  E.  Spin- 
(?arn,  Crit.  Essays  of  the  17th  Century,  II,  208. 

•■"TAf  Works  (if>So),  ed.  J.  Swift,  1730,  I,  p.  245.  After  .'Xriosto,  Tasso,  and 
.Spenser,  lie  knew  "none  of  the  moderns  tli:it  lirive  made  any  atchievcmciit  in 
Ifcroick  Poetry  worth  recording." 


239]  CRITICISM    OF    MILTON  147 

tioii  that  Paradise  Lost  should  occupy  in  tlie  ranks  of  literature.''*  Dry- 
den  attempted  to  regularize  the  poem  by  turning  it  into  heroic  couplets, 
aud  certainly  must  have  felt  the  feebleness  of  his  effort  at  improvement. 
Paradise  Lost  was  not  created  according  to  the  rules;  nor  indeed  was  it 
subject  to  them.  This  fact  pressed  itself  upon  Dryden's  consciousness, 
though  he  was  never  just  at  ease  as  to  what  conclusion  should  follow. 

In  general,  Drydeu  recognized  Milton  as  a  great  genius ;  and  did 
not  hesitate  to  say  so  upon  occasion.  "Dryden,"  according  to  one 
eighteenth  century  writer,  "unfolded  first  the  beauties  and  power  of 
Milton,  who  raised  England's  glory  to  the  top  in  respect  of  sviblime 
poetry. "^'^  Very  early  Dryden  cited  "Homer,  Virgil,  Tasso,  or  Milton's 
Paradise, ' '  as  authority  for  good  epic  usage,  and  spoke  of  ' '  Homer,  Divine 
Virgil,  and  Milton"  in  the  same  manner.^"  He  did  not  believe  that 
Horace,  "had  he  now  lived,  would  have  taxed  Milton,  as  our  false  critics 
have  presumed  to  do,  for  his  choice  of  a  supernatural  argument.  "^^ 
Dryden  found  "flats"  in  Milton,'**  disapproved  his  blank  verse, ^^  cen- 
sured certain  aspects  of  his  diction,*"  and  even  discredited  the  truly 
heroic  character  of  his  subject.*'  But  above  all  this,  Dryden  applauded 
the  majesty  of  Milton,  admired  "the  heights  of  his  invention,  and  the 
strength  of  his  expression,"*-  pronounced  "Spenser  and  Milton  nearest, 
in  English,  to  Virgil  and  Horace  in  Latin,"*''  and  dared  "not  condemn 
so  great  a  genius  as  Milton."**  He  said,  "It  is  as  much  commendation 
as  a  man  can  bear,  to  own  him  excellent ;  all  beyond  it  is  idolatry. '  '* 

Such  criticism  of  Paradise  Lost  could  not  but  be  effective  in  estat 
lishing  the  rank  of  Milton.    The  national  re-action  was  one  of  confidence. 
Sir  Thomas  Pope   Blount    (1649-1697),   in  his  Remarks  upon  Poetry 

^*Mt.  Havens  gave  the  following  list  of  Dryden's  principal  discussions  of 
Milton   {Englische  Studien,  1909,  40:193).     He  used  the  Scott-Saintsbury  edition. 

(i)  State  of  Innocence  and  Fall  of  Man  (1677),  Preface,  v.  111-112,  116-124. 
(2)  Preface  to  the  Second  Miscellany  (i6Ss),  xii,  300-301.  (3)  Dedication  of  the 
Aeneis  (idgy),  xiv,  143-145,  201-2,  214-15.  (4)  Epigram  (1688),  xi,  162.  (5) 
Origin  &  Progress  of  Satire  (1693),  xiii,  15,  17,  18,  30,  38,  39,  115-8.  (6)  Preface 
to  Fables  (1700),  xi,  209. 

3*Edw.  Watkinson,  Nature  &  Tendency  of  Criticism.  Cr.  Rev.,  June,  1763, 
i6:i-S. 

^^Apology  for  Heroic  Poetry  (1677).    Essays  (Ker),  I,  182,  189-190. 

3'Same,  I,  p.  i. 

^^Origin  .  .  .  Satire.    Essays  (Ker),  H,  29.     Cf,  H,  268. 

^^Same,  H,  pp.  29-30. 

^"Preface  to  Sylvia  (1685).     Essays  (Ker),  H,  268. 

*^  Origin  .  .  .  Satire. 

*-Same  as  40. 

*^Dedication  of  Aeneis.    Essays  (Ker),  H,  223. 

**Same,  H,  212. 

*'Same  as  40. 


148  THE    MILTON    TRADITION  [240 

(Characters  and  Censures)  (1694),  devoted  a  brief  but  formal  section 
to  "John  IMiltou.""  In  this  the  author  suinnied  up,  with  assurance,  the 
situation  of  Milton,  "whose  natural  Parts  did  deservedlj-  give  him  a 
place  amongst  the  principal  of  our  English  Poets."  This  dictum  was 
based  upon  tlie  two  Epics  and  Samson.*^  Charles  Leslie  (1630-1722) 
felt  obliged  to  discuss  at  some  length  Paradise  Lost,  in  the  "Preface" 
to  his  own  History  of  ^in  and  Heresy  (1698),  which  deals  in  part  with 
the  same  subject.*'  But  no  one  was  quicker  to  perceive  the  practical 
side  of  this  growing  confidence  in  Lliltou,  than  the  printer  Jacob  Ton- 
son.  Accordingly,  Tonson  employed  Patrick  Ilinne  to  prepare  an  anno- 
tated edition  of  Paradise  Lost  to  supply  the  new  demand.  This  edition, 
■with  "copious  and  learned  Notes,  or  Commentary  by  P.  H.,  with  a  table 
of  the  most  remarkable  parts  of  the  poem,  under  the  heads  of  Descrip- 
tions, Similes,  and  Speeches,"  was  published  in  1695.  This  was  the 
"first  attempt  to  illustrate  an  English  classic  by  copious  and  continued 
notes,"  and  in  this  work  Hume  left  a  monument  to  himself  as  "the 
father  of  comparative  criticism."*'* 

By  the  last  decade  of  the  century  the  forces  of  gen(>ral  moral  reform 
were  begiiniing  to  be  felt.  This  agitation  affected  literature,  and  served 
to  exalt  Paradise  Lost  as  it  had  never  been  exalted  up  to  tluit  time. 
The  leader  of  tliis  movement  for  reform  in  literature,  wlio  most  ardently 
espoused  the  cause  of  Milton,  was  John  Dennis  (1657-1734).  Under 
him,  and  his  associates  in  critical  theory.  Paradise  Lost  began  to  estab- 
lish itself  in  relation  to  some  of  the  literary  problems  of  all  time. 

The  need  of  this  general  reform  was  felt  on  all  sides.  Tlie  re-action 
from  the  restraints  of  Puritanism  had  sunk  the  nation  to  a  low  moral 
level.  With  this  moral  tlecay,  Literature  in  general  had  declined.  The 
stage  in  particular  was  very  bad,  even  unendurable  as  it  appeared  to 
some  of  the  writers  on  reform.'"' 

Lito  the  midst  of  this  movement  Dennis  threw  himself  with  full 
force.  His  well  digested  theory  of  literary  reform  was  fundamentally 
at  variance  witli  most  of  the  views  tliat  were  then  aeeejited.  The  very 
foundation  of  his  poetic  theory  was  the  fundamental  and  inseparable 
union  between  poetry  and  religion.    The  pseudo-classical  theory  then  in 

^"'Ed.  1694.  pp.  135-8.  Blount  added,  parentlictitally,  a  reference  to  Mihon's 
"other  works,  botli  in  Latin  and  Englisli,  liy  wliicli  liis  fame  is  suflioientl.\  kimwii 
to  all  the  learned  of  Europe." 

*''The  History  of  Sin  and  Heresy,  attempted  from  the  rirsi  War  that  they 
raised  in  Heaven,  throuyh  their  I'arious  Successes  and  Priu/ress  upon  Earth,  to 
the  Final  Victory  nz'er  them,  and  their  eternal  Condemnation  in  Hell.  Theol.  Jl'hs. 
(OxfJ,  rSs.'.  7  vols.,  7:437-5'3- 

<"Allil)onc,  Diet,  of  Authors.     "Ilnnic."     Bhichwnod's  .^tan..  4:658-662. 

*"TIic  most  considerable  attack  upon  the  stage  was  -■/  .S7i(ir/  View  of  the 
Immorality  and  I'rofhaneness  of  the  Stage  (169S),  by  Jeremy  Collier  (1650-17261. 


241]  CRITICISM    OF    MILTON  149 

vogue  claimed  that  literary  excellence  was  attainable  by  rules.  The 
general  idea  was  to  return  to  nature,  as  they  of  that  school  commonly 
argued.  But  by  this  maxim  they  meant  nature  methodized.  The  An- 
cients had  followed  nature  at  first  hand,  and  had  attained  all  that  she 
had  to  contribute  to  literary  excellence.  From  those  ancient  attain- 
ments the  rules  of  excellence  had  been  deduced.  Now  that  these  deduc- 
tions were  made  and  accepted  as  authority,  t\\e  problems  of  literary 
reform  lay  in  the  direction  of  closer  conformity  to  these  rules.  The 
problem  was,  therefore,  almost  purely  a  rational  problem.  Such  was 
the  thought  of  the  day. 

But  Dennis  thought  otherwise.  As  it  appeared  to  him,  the  inspira- 
tion and  source  of  literature  was  ultimately  in  the  passions.  The  prob- 
lem of  literary  reform  was,  therefore,  one  of  moral  reform  and  religious 
exaltation.  The  confirmation  of  this  theory  he  found  satisfactorily  set 
forth  in  the  exalted  character  of  Milton,  and  in  his  most  exalted  Paradise 
Lost.  In  both  theory  and  practice,  Dennis  was  an  avowed  disciple  of 
Milton. 

But  this  theory  of  Dennis  led  him,  in  his  arguments  for  reform,  to 
exalt  Paradise  Lost  from  another  point  of  view.  His  theory  of  the 
union  of  poetry  and  religion  led  him  to  exalt  the  Ancients  above  the 
Moderns,  because  the  former  found  their  superior  inspiration  in  the 
vital  forces  of  their  religion.  But  those  ancient  religions  were  Pagan, 
and  therefore  false.  Tlie  greater  attainment  Dennis  believed  possible 
to  the  poet  who  drew  upon  Christianity,  which  is  Truth.  As  proof  of 
what  was  possible  in  this  better  way,  Dennis  constantly  held  up  Paradise 
Lost  as  a  thing  scarcely  less  than  inspired  from  Heaven.  From  that 
exalted  Source,  Milton  had  attained  a  sublime  excellence  that  was  at- 
tainable in  no  other  way. 

The  critical  work  of  Dennis  has  been  so  well  treated  by  Dr.  H.  G. 
PauP"  that  extended  discussion  here  would  be  superfluous.  Strong 
sympathy  with  Milton,  both  in  theory  and  practice,  was  inevitable.  The 
discussions  of  Milton  by  Dennis  would  make  a  splendid  volume,  in 
quality  as  well  as  quantity;  for  the  thought  of  Dennis  toward  Milton 
belongs  more  to  the  rising  tides  of  Romanticism,  than  to  the  age  of  Pope 
and  Swift.  That  age  Dennis  pronounced  degenerate,  and  found  the 
proof  in  the  comparatively  low  appreciation  of  Paradise  Lost.  On  the 
positive  side  of  his  criticism,  there  is  one  brief  passage  that  seems  to 
sum  up  his  exalted  attitude  toward  Milton : 

"He  who   is   familiar  with   Homer,  and   intimate   with   Virgil requires 

something  that  is  far  above  the  Level  of  Modern  authors,  something  that  is  great 
and  wonderful.  If  I  were  to  recommend  a  British  Poet  to  one  who  had  been 
habituated  to  Homer  and  Virgil,  I  would  for  the  Honour  of  my  country,  and  of 

■■"John  Dennis,  His  Life  and  Criticism.     Columbia  Dissertation,  1910. 


150  THE    MILTON    TRADITION  [242 

my  own  Judgment  advise  him  to  read  Milton;  who  very  often  equals  both  the 
Grecian  and  the  Roman  in  their  extraordinary  Quahties,  and  sometimes  surpasses 
them,  is  more  lofty,  more  terrible,  more  vehement,  more  astonishing,  and  has  more 
impetuous  and  more  divine  Raptures. "■"^ 

One  of  the  most  considerable  satellites  of  Deimis  was  Charles  Gildon 
(1665-1724).  He  had  by  uo  means  the  grasp  of  theory  that  Dennis 
had ;  but  at  heart  Gildon  was  scarcely  less  an  admirer  of  Milton.  Like 
Dennis,  Gildon  cared  little  for  rules,  if  only  Paradise  Lost  yielded  the 
fruits  of  literarj'  enjoyment.  Much  of  Gildon 's  best  criticism  was  in- 
spired by  a  desire  to  answer  the  objections  made  against  Milton. 

As  early  as  1694,  Gildon  defended  even  Milton's  "antient  and  con- 
sequently less  intelligible  words,"  and  his  style  in  general,  as  essential 
to  his  characterization.  He  justified  the  "servile  creeping"  lines  as 
fitting  their  content,  exalted  Milton's  treatment  of  all  the  characters 
from  the  Deity  to  the  Devil,  and  lield  the  Faradisc  Lost  a  work  for 
Milton  alone,  and  for  liim  only  because  of  tluit  inner  illumination  which 
came  in  consequence  of  his  blindness.  Gildon  exalted  the  poem  because 
of  its  pleasing  effects  upon  the  reader.'-  In  his  Complete  Art  of  Poetry 
(1718),  Gildon  claimed  for  Milton  "no  more  than  the  second  place"  to 
Homer,  and  that  England  had  no  lack  of  national  genius.  He  approved 
the  spirit  of  Addison's  Critique,  and  asserted  tliat  Milton  "has  equaled, 
if  not  excelled  the  Greek  and  Latin  poets  in  many  things.  "■'''  In  the 
second  volume  of  this  work,  Gildon  made  fifty-nine  quotations  from 
Milton,  representing  almost  as  many  pages,  and  all  of  them  from  tlie 
epics.  In  The  Laws  of  Poetry  (1721 ),  Gildon  re])lied  to  Dryden's  charge 
of  "flats"  in  Milton.     "Homer,"  Gildon  said,  "sometimes  nods;  Virgil 

has  not  everywhere  the  same  vivacity  and  force ;  and Milton, 

for  many  lines  together,  is  far  from  being  so  elevated  and  lofty 

But  then  all  tliese  three  great  poets  shine  out  again  in  tlii'ir  own  exalted 
lustre."^* 

Meantime  it  became  necessary  for  the  neo-classical  school  to  define 
its  feeling  toward  Paradise  Lost,  for  the  poem  was  no  longer  to  be 
ignored.  Dryden's  attitude  Imd  been  one  of  uncertain  admiration.  But 
the  next  generation  of  classicists  seems  to  have  understood  that  Dryden 
thought  of  Paradise  Lost  as  a  great  work  of  an  irregular  genius;  which, 

'•'Kc flections.  Critical  and  Satirical,  ttl^on  a  l.alc  Rhafsmly.  culled,  .-In  llssay 
Upon  Criticism,    liy  Mr.  Dennis,  p.  17. 

'-To  Mr.  T.  .9.  In  Vindication  of  Mr.  Milton's  Paradise  Lost.  Miscellaneous 
Letters  and  Essays  (1694),  41-44.    Spingarn,  Crit.  Essays  in  I'lh  Cent.,  Ill,  198-200. 

'•^Tlte  Comflete  Art  of  Poetry.  1,  pp.   108,  267-268.  269,  ed.  1718. 

'■*Tlie  Laws  of  Poetry  (1721),  p.  21. 

These  last  words  of  Gildon  are  much  like  those  of  I.eun.uil  NWlstcd,  Iransl.itor 
of  Lon/iinus  on  the  .Sublime  (1712),  who  held  it  "undmibtedly  Iruo  of  Milton,  that 
no  man  ever  had  a  genius  so  happily  formed  for  the  sublime." 


1 


No. 

Date. 

Para.  Lost. 

References. 

6 

Apr.  23,  1 709 

Aitken,  Life,  S'c.    I, 

55-56. 

32 

June  23,  1709 

8:588-614 

I,  263. 

40 

July  12,  1709 

5:  12-  13 

Br.  Essayist,  1833.     I 

,  No.  40. 

50 

Aug.   4,  1709 

8:507-509 

79 

Oct.  II,  1709 

4 :750-768 

Aitken,    II,  216. 

98 

Nov.  24,  1709 

(Comus,  366-85) 

II,  233-234. 

132 

Feb.  II,  1710 

2:112 

"       III,  103. 

149 

Mar.  23,  1710 

8:  39-  54 

"       III,  188. 

217 

Aug.  29,  1 7 10 

9:1187-89 

"       IV,  114-118. 

227 

Sept.  21,  1710 

4:358  ff. 

"       IV,  166. 

237 

Oct.    14, 1710 

4:797-819 

"       IV,  210-215. 

263 

Dec.  14,  1710 

5:     1-30 

IV,  340-341 

\ 


243]  CRITICISM    OF    MILTON  151 

though  admirable,  could  uot  attain  first  rank  as  literature.  This  cer- 
tainly became  the  crj^stallized  attitude  of  the  pseudo-classical  school 
after  Dryden,  in  all  that  they  said  about  Milton's  great  Epic.  Great, 
it  was  admitted.  But  it  was  not  a  heroic  poem.  It  was  not  really  an 
epic  poem.  It  did  not  conform  to  the  accepted  rules  and  standards. 
Its  rank,  therefore,  could  not  be  the  highest.  Paradise  Lost  was  to  be 
regarded  as  an  irregular  production,  scarcely  subject  to  the  accepted 
laws  of  literature.  This  important  qualification  seems  to  have  pervaded 
all  pseudo-classical  thought  of  Milton. 

Milton  was  thus  felt  to  be  an  irregular  genius;  but  he  was  no  less 
truly  felt  to  be  an  uncommon  genius.  Moreover,  Milton  was  an  English 
genius;  and  even  the  classicists  felt  a  national  pride  in  this  "great  /* 
countryman,  Milton."  They,  therefore,  reveled  frequently  in  tlie  beau- 
ties of  his  isolated  passages;  they  freely  appropriated  his  thoughts  and 
diction  without  acknowledgment;  and  they  even  discussed  formally  the 
measure  of  regularity  to  be  found  in  his  great  poem. 

To  this  general  class  belonged  Sir  Richard  Steele  (1672-1729), 
whose  treatment  of  Milton  seems  never  to  have  had  adequate  attention. 
Henry  R.  Montgomery,  in  his  Memoirs  of  Steele,  has  this  sentence: 
"In  these  casual  notices  and  quotations,  Steele  was  among  the  first  to 
direct  attention  to  Milton's  merits,  long  prior  to  Addison's  more  elabo- 
rate critique.  "^^  During  the  years  1709  and  1710,  Steele  devoted  at 
least  twelve  papers  of  the  Tatler  to  Milton,  all  bvit  one  of  which  were 
concerned  with  Paradise  Lost.^" 

In  the  very  first  of  these  (No.  6),  Steele  compared  Paradise  Lost 
with  Dryden 's  State  of  Innocence,  much  to  the  disparagement  of  the 
latter.  Steele  had  an  aptness  for  incidentally  introducing  a  passage 
into  such  circumstances  as  would  throw  a  flood  of  new  light  upon  the 

==2  vols.,  Edinburgh,  1865.     II,  301. 
''Steele's  Tatler  Papers  on  Milton. 


152  THE    MILTON    TRADITION  [244 

passage  thus  introduced.  He  was  charmed  with  what  one  may  call  the 
social  element  in  Paradise  Lost,  and  happily  showed  how  that  poem 
entered  familiarly  into  social  life.  For  example,  he  represented  (40) 
an  evening  party  of  women  saying  that  Milton  had  said  some  of  "the 
tenderest  things  ever  heard"  in  the  love-speeclies  of  Adam  and  Eve. 
On  another  occasion,  he  represented  a  fan  on  which  was  painted  Milton's 
picture  of  "our  first  parents  in  Paradise  asleep  in  each  other's  arms" 
(6).  He  had  Paradise  Lost  (iv,  750-768)  quoted  at  a  wedding,  and 
thought  the  passage  especially  fitted  for  such  an  occasion  (79).  In 
almost  all  of  his  liberal  quotations,  Steele  sliowed  a  special  fondness  for 
those  moments  of  pose  in  the  poem  that  would  make  good  portraits. 
Every  word  of  his  treatment  of  Paradise  Lost  shows  close  study  of  the 
poem,  careful  visualization  of  its  contents,  and  just  appreciation  of  its 
literary  values. 

After  1710,  however,  Steele  seems  to  liave  written  nothing  on  Mil- 
ton. The  reason  for  this  abrupt  cessation  is  both  evident  anil  compli- 
mentary to  the  good  judgment  of  his  practical  mind.  During  this  year 
1710,  Addison  liad  been  contributing  a  few  papers  to  the  Tatlcr  which 
showed  a  higher  order  of  genius  for  this  particular  work  tlian  Steele 
had  been  able  to  command.  Moved,  tlierefore,  first  of  all,  perhaps,  for 
the  largest  results  in  this  field  of  public  activity,  Steele  gave  over  into 
the  hands  of  his  greater  contemporary  and  fellow-worker  the  privilege 
of  representing  Milton  before  the  public. 

So  great  has  been  tlie  reputation  of  Addison's  Critique  on  Paradise 
Lost,  that  it  has  come  to  stand,  in  general  tliought,  for  Addison's  con- 
tribution to  the  critici.sm  of  Milton.  But  this  thought  is  far  from  the 
truth.  Had  Addi.son  never  written  liis  Critique,  still  lie  would  hold  an 
important  place  among  tlie  early  critics  who  lu'l])ed  to  giv«>  Jlilton  his 
rightful  raid<  in  literature. 

Addison's  poetical  tribute  to  Milton  was  published  in  1694  (No.  21, 
p.  58),  and  .sliowed  some  just  apprcciiition  of  Milton "s  rank  as  a  poet. 
Probably  Addison's  first  formal  contribution  was  the  />wfo»r.fe  on  An- 
cient and  Modern  Learning,  which  made  a  strong  nationalistic  appeal 
in  behalf  of  Milton.  The  Discourse  held  that  the  circumstance  of  na- 
tional liero(!s  made  Homer  and  Virgil  particularly  charming  to  their 
own  (countrymen.  "And  here,  by  tlie  way,  our  !\Iil1cii  has  been  more 
universally  engaging  in  tlie  choice  of  his  Persons,  than  any  other  poet 
can  possibly  be.  He  has  obliged  all  Mankind,  and  related  the  whole 
species  to  the  two  chief  Actors  in  his  Poem."  This  higher  interest  of 
Paradise  Lost  Addison  su])port<'d  by  discussing  at  length  the  world- 
relations  of  Milton's  characters.''' 

'■^Tliis  Discourse  was  written  e.irly.  hut  printed  late.     Much  nf  it  was  worked 
over  ill  other  papers.     Bohn  ed.,  v.  214.    8th  cd.     Loud.,  1739. 


2451 


CRITICISM    OP    MILTON 


153 


In  the  Periodical  Papers,"'*  Addisou  rarely  ever  quoted  Miltou  with- 
out an  exalting  compliment.  If  Addisou  contemplated  the  rewards  of 
justice,  his  mind  went  at  once  to  Milton's  fine  description  of  female 
virtue  (102).  If  Death-Bed  Scenes  (114)  suggested  the  community  ele- 
ment in  pleasure  as  well  as  in  sorrow,  he  found  nothing  "so  inexpressi- 
bly charming"  as  Milton's  representation  of  Eve  "no  further  pleased 
with  the  beautiful  objects  around  her,  than  as  she  sees  them  in  company 
with  Adam."  The  "variety  of  images  in  this  passage"  was  to  Addison 
"infinitely  pleasing,"  a  fact  mentioned  because  Dryden  had  said,  in 
his  preface  to  Juvenal,  that  he  could  meet  with  no  turn  of  words  in 
Milton.  But  Addison  was  able  to  "show  several  passages  in  Milton  that 
have  as  excellent  turns  of  this  nature  as  any  of  our  English  poets  what- 
soever." In  proof  of  this,  he  cited  Book  II,  557-561,  which  he  affirmed 
to  have  "a  kind  of  labyrinth  in  the  very  words  that  describe"  the  fallen 
angels  debating  predestination. 

Almost  every  turn  of  thought  in  Addison's  mind  seems  to  have 
found  some  illustration  in  Paradise  Lost;  and  he  had  the  ability  to  make 
others  feel  this  vital  connection  between  Milton  and  all  that  was  most 
worth  thinking  about  in  life.    While  on  a  walk  in  the  country,  Addison 


^^Addison's  Periodica 
Tatlcr  Papers 


1  Papers  on  Milton. 

Paradise  Lost  References 


102 

Dec.    3,  1709 

8:546-559 

114 

Dec.  31,  1709 

6 :639-656 
2:557-561 

Br.  Essayists,  1S23.    3:No 

2X8 

.■^ug.  30,  1710 

9:446-451 

222 

Sept.   9,  1710 

4  760-762 

Aitken.     4:138. 

^237 

Oct.    14,  1710 

4:797-819 

Br.  Es.,  1823.    4:No.237. 

spectator  Papers 

12 

Mar.  14,  171 1 

4  :675-688 

89 

June  12, 171 1 

8:469-511 

i6o 

Sept.   3,  171 1 

237 

Dec.     I,  1711 

2:557-561 

249 

Dec.  IS,  1711 

(Allegro.  11-40) 

262 

Dec.  31,  1711 

Introduction  to  Critique. 

Jan.  s-May  3 

Critique. 

393 

May  31,  1712 

4:148-156 

Jun.2i-Jul.3 

Pleasures  of  Imagination. 

42s 

July    8,  1712 

(Penseroso) 

Lines  61-72,  147-154- 

463 

Aug.  21,  1712 

4:996-1015 

Br.  Es.,  1823.     io:No.  463 

Guardian  Papers 

103 

July     9,  1713 

1 :726-730 

138 

Aug.  19,  1713 

5 :33i-343 

Br.  Es.,  1S23.     i5:No.  138 

Free! 

older  Papers 

32 

Apr.    9,  1716 

8:546-554 

154  THE    MILTON    TRADITION  [246 

"could  not  but  reflect  upon  a  beautiful  simile  of  Milton  (218)."  In  a 
quiet  evening's  diversion  at  booie,  this  book  was  his  choice  of  delights 
(237).  He  observed  that  the  principle  underlying  gliost  stories  for 
children  '"jMilton  has  finely  described  in  tliis  mixed  communion  of  men 
and  spirits  in  Paradise  (12)."  The  melancholy  aspects  of  eternal  infe- 
licity he  found  well  portrayed  by  Jlilton's  master  hand  (Spec,  237). 
As  for  the  delights  of  spring,  none  "have  ob-served  so  well  as  Milton 
those  secret  overflowings  of  gladness  which  diffuse  themselves  through 
the  mind  of  the  beholder  upon  surveying  the  gay  scenes  of  nature."  In 
proof  of  this,  Addison  cited  the  passage  where  Milton  "represents  the 
devil  himself  as  almost  sensible  to  it  (393)."  The  idea  of  weighing 
Wisdom  and  Riches  assumed  in  Addison's  mind  the  formal  aspect  of 
Milton's  combat  between  the  Arch-angel  and  the  Evil  Spirit  (463). 
City  fireworks  (103),  as  w^ell  as  public  courtesy  (138),  might  be  im- 
proved by  attention  to  the  excellencies  of  this  wonderful  book.  Then, 
as  if  forgetting  all  thought  connections,  and  being  controlled  by  the  idea 
of  appreciation  for  its  own  sake,  Addison  would  quote  long  irrelevant 
sections  of  Paradise  Lost  because  he  could  not  "forbear  transcribing 
entire"  such  excellent  materials  (89). 

On  the  .side  of  formal  criticism,  Addison's  estimation  of  Milton  was 
judicious.  In  the  paper  On  Great  Natural  Geniuses  (160),  Addison 
placed  Milton  in  the  class  of  geniuses  who  "have  formed  themselves  by 
rules,  and  submitted  the  greatness  of  tluur  natural  talents  to  the  cor- 
I'ections  and  restraints  of  art."  To  this  class  belong  Plato,  Aristotle, 
Virgil,  Tully,  IMilton,  and  Sir  Francis  Bacon.  In  tlie  Essays  on  the 
Pleasures  of  the  Imagination  (paper  vi),  it  was  claimed  that  "Homer 
excelled  in  imagining  what  is  great :  Virgil  in  imagining  what  is  beauti- 
ful ;  Ovid  in  imagining  what  is  new.  Oui'  own  countryman,  Milton,  is 
very  ])erfect  in  all  these  resi)ects. "  Milton  was  held  to  be  excellent  in 
description,  whether  he  portrayed  the  pleasant  or  the  unpleasant,  and 
effective  in  imaginative  appeal,  even  through  such  emblematic  persons 
as  Sin  and  Death.  Such  was  tlie  active  interest  witli  which  Addi.son 
supported  tlie  rank  of  Milton  before  the  I'wiglish  public  in  his  own 
writings  outside  of  the  formal  critique. 

The  celebrated  Critique  is,  however,  Addison's  great  contribution 
to  the  criticism  of  Milton.  In  the  introduction  to  these  Rrniarlcs.  Addi- 
son made  three  things  very  dear:  (1)  That  he  did  not  need  to  write 
]\Iilton  into  ])ul)lie  favor;  (2)  That  the  works  of  JMilton  luul  been  of 
constant  interest  to  Addison;  and  (3)  That  these  Papers  were  to  deal 
witli  a  definite  esthetic  disfiissioii  of  the  Poem,  supplementary  to  the 
work  already  done  in  this  [)artieular  field  of  Miltonic  criticism.  Addi- 
son   assumed    the    ejassieal   stamlai'd    in   Ihrsc    liiiii(irl,s,  drawing  n|)on 


247]  CRITICISM    OF    MILTON  155 

Aristotle,  Horace,  and  Longiniis,  for  the  orthodox  theory  of  poetry/'* 
By  these  standards  Addison  measured  the  claims  of  Paradise  Lost  to 
classical  recognition,  discovered,  in  part,  its  beauties,  excellencies,  and 
defects,  and  thus  gave  the  Nation  a  full  semester's  work  in  the  definite 
classical  art  of  Milton.  These  Remarks  were  collected  into  a  separate 
volume  in  1719,  translated  into  French  1729,  German  1740,  Italian  1742, 
and  became  a  standard  work  on  Milton  from  their  first  appearance.  The 
immense  circulation  of  the  Spectator  in  England""  literally  flooded  the 
Nation  with  the  choicest  passages  of  Milton,  stamped  with  just  valuation 
by  the  best  classical  authority  of  the  times.  For  this  sanction  the  public 
mind  was  full}'  read}',  and  the  re-action  was  undoubtedly  greater  than 
is  usually  estimated.  Tonson  had  just  supplied  the  public  with  Paradise 
Lost  in  convenient  form;  and  the  loyal-hearted  English  heard  Addison 
gladly,  and  then  searched  their  Milton  daily  whether  those  things  were 
so.  There  is  little  wonder  that  this  re-action  became  to  later  historians 
and  critics  the  touch-stone  of  Milton's  unparalleled  popularity."^ 

There  can  be  no  doubt  about  the  solid  contribution  which  these 
Papers  made  to  the  clearly  defined  rank  of  Milton,  as  seen  from  the 
pseudo-classical  standpoint.  Addison  did  not  discover  Milton;  but  he 
did  definitely  set  forth  the  nature  of  Milton's  literary  rank  in  terms 
of  the  dominant  thought  of  the  times.  Henceforth  Milton  afforded,  in 
spite  of  his  irregularities,  ample  opportunity  for  a  just  national  exalta- 
tion. The  substantial  re-action  called  not  immediately  for  multiiilied 
editions,  but  for  a  re-reading  of  Paradise  Lost,  and  an  enlarged  appre- 
ciation of  Milton  along  these  autlioritative  lines  of  glorification.  When 
the  Nation  had  caught  up  with  this  review  of  the  poem,  editions  poured 
from  the  press  in  multiplied  abundance.*- 

But  the  man,  next  to  Tonson,  who  was  keenest  to  utilize  the  imme- 
diate benefits  of  this  renewed  national  exaltation  of  Milton  was  the 
classical  Voltaire,  who  was  then  in  England.  He  understood  thoroughly 
the  place  that  Milton  now  occupied  in  classical  criticism  and  also  in  the 

•■^Ehon  says  that  Aristotle,  seen  through  the  Traite  du  Pohnc  cfique  of 
Father  Rcnce  Bosstt  (1675),  was  the  standard  by  which  Dennis  and  Addison  "in- 
advertently" measured  "the  conformity  of  Milton  to  a  just  poetic."  The  Augustan 
Ages,  pp.  143-4. 

^"Spec.  No.  10.    60,000  copies  when  only  a  week  old. 

"'See  Appendix  D,  for  i8th  century  emphasis  on  this  Critique. 

'^Editions — 1711,   1719,   1720,   1721,   1724,   1725,   1727    (two),   1730,   1731,   1732. 

Another  expression  of  this  re-action  was  Elegancies  Taken  Out  of  Para.  Lost 
(1725),  Another  product  was  An  Index  of  the  Principal  Matters  in  Para.  Lost, 
prepared  by  Thomas  Tickell  (1686-1740),  a  friend  to  Addison,  who  had  conducted 
through  the  press  Tonson's  edition  of  1720,  in  which  the  Critique  was  first  printed 
with  the  poem.     Warton's  Milton,  1791,  608. 


156  THE    MILTON    TRADITION  [248 

hearts  of  the  English  people.  To  ingratiate  himself  into  national  favor, 
this  Frenchman  needed  only  to  wi'ite  his  Essay  Upon  the  Epick  Poetry 
of  the  European  Nations,  From  Homer  down  to  Milton,  with  its  master- 
ful exaltation  of  ililtou  along  the  popular  lines  of  praise.  This  Essay 
was  written  in  English,  printed  in  London  (1727),  and  contained  some 
of  the  highest  commendation  of  Milton  hitherto  produced. 

If  Jusserand  (Eng.  Essays,  196)  is  right  in  emphasizing  the  motive  that  pro- 
duced tliis  Essay,  as  a  desire  for  acquaintance  and  popularity,  then  J.  C.  Collins 
(Voltaire,  &c.  in  England,  62-73)  has  made  it  plain  that  Voltaire  was  wise  in  the 
selection  and  treatment  of  his  subject  to  that  end;  and  the  last  writer,  re-inforced 
by  Morley  (Voltaire,  86),  has  made  it  plain  that  Voltaire  was  willing  to  pay  for 
his  English  popularity  the  labour  necessary  "not  only  to  master  and  appreciate  the 
secret  of  Milton's  poetic  power,  but  even  to  ascertain  the  minutest  circumstance 
of  his  life." 

Mr.  Collins  says,  "The  critique  on  Paradise  Lost,  which  is  described  as  'the 
noblest  work  which  human  imagination  hath  ever  attempted,'  gives  us  a  higher 
idea  of  Voltaire's  critical  powers  than  any  of  his  French  writings.  His  vindication 
of  Milton's  poem  against  some  of  the  objections  urged  against  it  so  characteris- 
tically by  the  French  critics,  his  remarks  on  Milton's  conception  and  picture  of 
the  Deity,  and  on  the  grand  unity  of  the  work  amid  its  endless  variety,  would 
indeed  have  done  honour  to  Longinus."  Collins  cites,  with  hearty  relish,  Vol- 
taire's estimate  of  Milton's  treatment  of  love  as  a  virtue,  which  closes  with  the 
assurance,  that  Milton  "soars  not  above  human,  but  above  corrupt  nature ;  and  as 
there  is  no  instance  of  such  love,  there  is  none  of  such  poetry." 

Voltaire's  Essay  was  received  with  great  applause,"'  and  did  much 
for  the  rank  and  fame  of  Milton.  Voltaire  prided  himself,  indeed,  upon 
having  discovered  Milton  to  the  Continent  of  Europe.  But  this  pride 
soon  gave  place  to  other  feelings. 

"Voltaire  had  no  sooner  awakened  an  interest  in  Milton,  than  he  arrived  at 
the  conclusion  that  an  excess  of  admiration  for  this  foreign  poet  might  endanger 
the  good  taste  of  Europe;  the  piquancy  of  having  discovered  Milton  gave  place — 
as  soon  as  others  began  to  occupy  themselves  with  his  poetry^ — to  repentance  for 
the  momentary  back-sliding  which  had  led  him  to  forget  his  responsibilities  as  the 
guardian  of  literary  taste  and  propriety.  .  .  .  Voltaire  veered  round  at  once;  he 
expunged  as  much  of  the  praise  as  he  reasonably  could  from  his  Essay  on  Epick 
Poetry  before  publishing  it  in  France,  and,  from  now  on,  his  attacks  on  Milton 
were  even   more   unscrupulous  than   his  antagonism   in   later  life  to   Shakespeare. 

"'But  Voltaire's  studies  in  Milton's  sources  were  not  very  cordially  received. 
Voltaire  assumed  a  heavy  indebtedness  of  Milton  to  an  Italian  Tragedy  by 
Adreino.  This  view  was  assailed  by  P.  Rolli,  the  translator  of  Paradise  Lost,  in 
his  Remarks  upon  Voltaire's  Essay  (London,  1728)  ;  and  again  by  Giuseppe  Ba- 
retti,  in  A  Dissertation  Upon  Italian  Poetry  (i/33>.  The  latter  held  Voltaire's 
view  ridiculous.  Baretti  held  also  that  Milton  alone  had  cqualloil  Dante,  that  he 
was  acquainted  with  and  probably  indebted  to  the  Italian  poet. 


249]  CRITICISM    OF    MILTON  157 

He  ridiculed  the  English  Poet  in  his  Caudidc,  and  even  parodied  Iiim  in  Piiicllc.""* 

In  the  meantime  other  classicists  were  concerning  themselves  in  a 
less  formal,  but  rather  important,  way.  The  poems  of  John  Pomfret 
(1667-1703)  show  a  pleasing  familiarity  with  Paradise  Lost;"-'  and  John 
Hughes  alluded  to  the  Poem  as  "a  nobler  song,"  in  his  Ode  in  Praise 
of  Music  (1703).  Edward  Bysshe  in  his  Art  of  English  Poetry  (1702), 
quoted  forty-eight  lines  from  Paradise  Lost  (Book  iv)  as  "an  example 
of  blank  verse ' '  from  ' '  the  most  celebrated  poem  of  this  kind  of  verse. ' ' 
In  this  work  Milton  aj)peared,  in  liberal  quotations,  on  at  least  ninety 
different  pages,  and  all  from  Paradise  Lost  except  one  or  two  citations 
from  Samson  Agonistes.^'^ 

Budgell  quoted  Milton's  Looking-glass  passage,  and  suggested  a 
probable  moral  application.*"  The  Lay  Monastery  emphasized  the  de- 
scriptive excellence  of  Paradise  Lost  as  one  source  of  its  superior  pleas- 
ure, and  collected  five  descriptions  of  Morn  as  "drawn  with  exquisite 
beauty.""*  John  Gay  was  attracted  by  the  same  excellence,  and  strove 
to  set  before  his  "gentle  reader"  a  "picture,  or  rather  lively  landscape 
of  thy  own  country,  just  as  thou  mightest  see,  didst  thou  take  a  walk 
into  tlie  fields  at  the  proper  season :  even  as  Maister  Milton  hath  ele- 
gantly set  forth  the  same.""^  The  Ladies  Library  (1714)  quoted  Otway, 
Milton  and  Dryden  as  among  "the  most  polite  writers  of  the  age;"'" 
and  Mandeville,  discussing  the  benevolent  designs  of  Nature    (1714), 

"*J.  G.  Robertson,  Milton's  Fame  on  the  Continent.  Proc.  Brit.  Acad.,  igo^-oS, 
p.  326. 

This  shifting  of  Voltaire's  attitude  was  analogous  to  that  of  the  German 
classicist  Gottsched,  who  first  hailed  Paradise  Lost  with  pleasure,  but  turned 
violently  against  it  when  it  was  exalted  as  a  standard  of  imaginative  literature. 

'=Cf.  To  Delia,  and  On  the  Marriage  of  the  Earl  of  A.  Chalmers,  Eng.  Pts., 
8:316,  323.  His  Poems  were  popular:  eds.  1699?,  1702,  1710,  loth  ed.  1736,  last 
1790. 

«»Part  I,  pp.  35-36. 

Sometimes  whole  pages  are  quoted :  again  there  are  five  citations  on  a  page. 
The  popularity  of  this  work  is  important.  It  was  published  1702,  5ed.  1714,  7ed. 
1724,  8ed.  1737;  besides  which,  Parts  II  and  III,  where  most  of  the  quotations 
occur,  were  published  as  The  British  Parnassus  1714,  1718.  There  can  be  little 
doubt  that  this  Handbook  on  Poetry  was  a  means  of  e.xalting  Milton,  and  a 
medium  for  transmitting  his  thought  and  diction  into  the  poetry  of  the  times. 

^''Spec.,  325,  March  13,  1712. 

«^No.  39,  Feb.  12,  1713.    Drake's  Gleaner  (iSii).    I,  No.  7,  pp.  50-5i- 

^^To  the  Courteous  Reader,  with  The  Shepherd's  Week,  in  Six  Pastorals 
(1714).     Chalmers,  Eng.  Pts..  10:444.     Quoted  P.  L.,  ix.  445-51- 

'""By  A  Lady."  Published  by  R.  Steele.  Quoted  with  significant  comment 
Milton's  lines  against  woman   (x,  883-95),  vol.  I,  2-3. 


158  THE    MILTON    TKADITUiX  [250 

cited  ^Milton's  description  of  the  Lion  in  Eden  as  an  authority  on  jn-inii- 
tive  eoniiitions  of  equal  value  with  Moscs.'^ 

The  classicists  betrayed  at  times  a  cousciousuess  of  Milton's  supe- 
riority to  the  products  of  their  own  school.  "If  Dryden  nodded,"  said 
Sir  Charles  Sedley  (1702),  "so  did  Homer  too;  if  Virgil  is  inimitable, 
Milton  can't  be  read  without  wonder  and  delight."'-  Ten  years  later 
Parnell  acknowledged  this  superiority,  in  An  E.rplanatorii  Note  on  Alle- 
gory, addressed  to  Bolingbroke.  Parnell  said,  "■  There  have  been  poets 
amongst  ourselves,  such  as  Spencer  and  Milton,  who  have  successfully 
ventured  further  (than  pilfering  imitation  even  of  the  Ancients).  These 
instances  may  let  us  see  that  invention  is  not  bounded  by  what  has  been 
done  before :  they  may  open  our  imaginations,  and  be  one  method  of 
preserving  us  from  writing  without  schemes.""'  Prior  also  magnified 
Milton's  original  genius,  and  justified  his  license  with  historical  mate- 
rials, as  used  in  "one  of  the  subliniest  pieces  of  invention  that  ever  was 
yet  produced.""^*  Few  men  i'elt  the  superiority  of  Milton  with  more 
conviction  than  did  Bishop  Atterbury,  whose  classical  tastes  did  not 
hinder  him  from  rereading  Paradise  Lost  with  "such  new  degrees  .... 
of  admiration  and  astonishment,"  as  to  "look  upon  the  Sublimity  of 
Homer,  and  the  Majesty  of  Virgil  with  somewliat  less  reverence."  He 
even  challenged  Pope  to  show,  "with  all  liis  partiality,"'  an.ything  in 
Homer  "equal  to  the  Allegory  of  Sin  and  Death,  either  as  to  their  great- 
ness and  justness  of  the  Invention,  or  the  height  and  beauty  of  the 
colouring."'-' 

This  last  important  quotation  circulated  in  the  highest  circles  of 
Neo-elassicism.  Pope  did  not  undertake  to  answer  the  challenge,  proba- 
bly because  of  his  own  obligations  to  Milton.  These  are  glaring  in  most 
of  Pope's  poems;  but  a  poet  who  held  that  mere  polish  of  thought  gave 
a  deed  of  possession  for  all  time,  coidd  scarcely  be  expected  to  advertise 
the  sources  of  his  rough  materials.  Yet  even  Pope,  at  times,  acknow- 
ledged his  indebtedness  to  the  superior  excellences  of  Paradise  Lost. 

Tn  his  Preface  to  the  Iliad  (1720),  Pope  owned  that  there  was  a 
"living  fire"  in  Milton  and  Sliakesi)eare,  comparable  to  that  in  the 
Ancients    (p.   3)  ;   emphasized  the  advantage  of  "Graecisms  and  old 

^•Bernarde  de  Mandeville  (1670-1733).  The  Fable  of  the  Bees,  cd.  17 jq.  Part 
II,  p.  s6().  Published  1714,  2ed.  1723,  sed.  1729,  ged.  1755.  He  quoted  here  Vara. 
Lost,  iv,  340-345- 

^•Preface  to  The  Misc.   Works.     London,  1702.     J.  Nutt. 

^^Essay  on  the  Different  Styles  of  Poetry.  Written  i;ij,  puli.  Marcli.  1713. 
Chalmers,  Eng.  Poets,  9:413. 

'^Preface  to  Solomon  on  the  I'linily  of  the  World.  Ch.Tlnicrs,  luig.  Poets, 
10:206.     Aldinc  Ed.,  II,  83. 

''^Letter  To  Pope.    Nov.  8,  1717.     Birch,  Life  of  Milton   (1738),  1,  p.  1. 


251]  CKITICISM    OF    MILTON  159 

words  after  the  manner  of  Milton"  (p.  10)  ;  and  proposed  to  preserve  the 
spirit  of  Homer  by  constant  attention  to  Virgil  among  the  Ancients, 
and  Milton  among  the  Moderns  (p.  11).  Long  before  this  (1713)  Pope 
had  recommended  tlie  writer  of  an  Epic  to  draw  his  Devils  from  Para- 
dise Lost,  and  to  imitate  the  language  of  Milton."  In  his  Postscript  To 
The  Odyssey  (1726),  Pope  openly  "allowed  that  there  is  a  majesty  and 
harmony  in  the  Greek  language,  which  greatly  contribute  to  elevate  and 
support  the  narration,"  and  acknowledged  that  "some  use  has  been 
made  to  this  end  of  the  style  of  Milton."  In  this  Postscript  Pope  de- 
voted a  section  of  more  than  five  hundred  words  to  the  criticism  of 
Milton,  commended  his  style,  and  characterized  his  imitators  as  "not 
copies,  but  caricatures  of  their  original."" 

Recurring  now  to  the  original  position  of  the  pseudo-classical  school, 
that  Milton  was  irregular,  and  therefore  fundamentally  limited  as  to 
literary  rank,  one  may  discover  a  re-action  along  a  new  line  that  served 
to  exalt  Milton.  This  movement  amounted  in  spirit  to  a  sort  of  retalia- 
tion in  criticism  which  exulted  in  the  triumph  of  Paradise  Lost.  The 
new  position  of  some  of  the  Milton  sympathizers  seems  to  have  resulted 
from  the  clash  between  Dennis  and  the  pseudo-classical  school  of  poets. 
The  admirers  of  Milton  could  not  bear  to  see  him  take  second  rank 
among  the  poets.  When  the  classicists  affirmed  that  Milton  did  not 
conform  to  the  rules  of  highest  excellence,  his  admirers  affirmed  that 
Milton  was  not  subject  to  the  rules  imposed.  His  Poem  may  not  be 
heroic.  It  may  not  be  epic.  But  it  was  a  new  kind,  it  was  a  divine 
poem.  Having  made  this  discovery,  the  devotees  of  Milton  were  pre- 
pared to  exalt  him  even  above  Homer  and  Virgil. 

This  conviction,  often  ill-formulated,  pervades  many  encomiums  of 
Milton.  One  can  feel  it  in  the  Letter  of  Atterbury  To  Pope,  already 
quoted.  As  early  as  1693,  Samuel  Wesley  (1662-1735),  father  of  the 
famous  John  Wesley  (1703-1791),  declared  Milton's  Paradise  Lost  "an 
original,  and  indeed  he  seems  rather  above  the  common  Rules  of  Epick 
than  ignorant  of  them.  It's  I'm  sure  a  very  lovely  poem,  by  whatever 
name  it's  called,  and  in  it  he  has  many  thoughts  and  Images,  greater 
than  perhaps  either  Virgil  or  Homer."'*    The  same  sentiment  pervaded 

''^Receipt  to  Make  an  Epick  Poem.  Guardian  "8,  June  lo,  1713.  Brit.  Essay- 
ists, 1823,  xiv,  No.  78. 

"It  may  be  noticed  here,  that  Swift,  who  shows  little  evident  influence  of 
Mihon,  in  The  Art  of  Sinking  in  Poetry,  (1727),  if  he  had  a  hand  in  that  per- 
formance, treated  Milton  with  a  respect  that  was  in  keeping  with  the  reverential 
attitude  of  the  time.  Works  of  J.  Szvift  (cd.  W.  Scott),  Edinburgh,  1814,  xiii, 
16-98. 

''^Life  of  Our  Blessed  Lord  and  Savior  Jesus  Christ.  An  Heroic  Poem  (1693). 
Englische  Studien,  1909,  40:180. 


160  THE    MILTON    TRADITION  [252 

Toland's  Life;  as  when  he  described  Milton's  "diviue  and  incomparable 
poems,  which,  equalling  the  most  beantiftil  order  and  expression  of  any 
ancient  or  modern  compositions,  are  infuiitely  above  them  all  for  sub- 
limity and  invention." 

This  idea  of  something  new  and  different  seems  to  appear  in  Fel- 
ton's  popular  Dissertation  on  Reading  the  Classics  (1711),  when  he  says 
of  Milton,  that  "his  style,  his  thoughts,  his  verse,  are  as  superior  to  the 
genei'ality  of  other  poets,  as  his  Subject."  It  was  a  rather  common 
feeling  that  Milton's  Paradise  Lost  did  not  belong  to  the  common  cate- 
gories of  poetry,  but  stood  apart  and  alone,  "inimitably  great."  This 
view  was  formally  defended  by  Gildon,  when  he  took  Addison  to  task 
for  attempting  to  criticise  a  divine  poem  by  the  common  laws  of  the 
Epic.""  That  deep-rooted  conviction  of  Milton's  supremacy  through  the 
invention  of  a  superior  kind  of  poetry,  so  admirably  expressed  in  the 
following  words  of  Warburton,  is  not  entirely  uufelt  even  today: 

"Milton  produced  a  third  species  of  poetry:  for  just  as  Virgil  rivalled  Homer, 
so  Milton  emulated  both.  He  found  Homer  possessed  of  the  province  of  Morality, 
Virgil  of  Politics,  and  nothing  left  for  him  but  that  of  Religion.  This  he  seized 
as  aspiring  to  share  with  them  in  the  Government  of  the  Poetic  world ;  and  by 
I  means  of  the  superior  dignity  of  his  subject,  got  to  the  Head  of  that  Triumvirate, 
which  took  so  many  ages  in  forming.  These  are  the  species  of  the  Epic  poem; 
for  its  largest  province  is  human  Action,  which  can  be  considered  but  in  a  moral, 
a  political,  or  religious  view ;  and  these  the  three  great  creators  of  them ;  for  each 
of  these  Poems  was  struck  out  at  a  heat,  and  came  to  perfection  from  its  first 
Essay.  Here  then  the  grand  scene  is  closed,  and  all  furtlicr  improvement  of  the 
Epic  at  an  end."*" 

During  this  ])eriod  one  essential  consideration  resjiecting  Milton's 
rank  was  the  question  of  his  versification.  That  the  controversy  at  this 
point  should  be  rather  spirited,  was  inevitable.  The  Restoration  con- 
troversy between  rliyme  and  blank  verse  was  already  under  way  when 
]\Iilton  published  his  Ejiie.  During  thi^  Coinmoiiwealtli,  tlie  English 
refugees  in  France  had  learned  to  write  lieroie  plays  in  lieroie  couidets. 
The  consequent  introduction  of  rhyme  upon  the  Englisli  stage  at  the 
Restoration  was  contrary  to  the  English  dranmtic  traditions  so  well 
establislied  during  the  Elizabethan  jieriod.  Rhyme  in  tragedy  was  an 
innovation  that  called  for  reasonable  justitieation.  Tln'  great  champion 
of  the  new  mode  was  the  enthusiastic  young  jioet  John  Drydcn.  For 
want  of  an  opposing  champion  of  equal  strength,  the  conflict  was  for  a 
time  a  very  one-sided  afTair.  Drydcn  and  his  allies  in  the  new  school 
were   obliged   to  attack   old   traditions   nuire   than   present  antagonists. 

''"The  Imws  of  Poetry,  1721.  p.  259. 

'"Wni.    Warburton    (1698-1770).      'Ihe   Dh'inc    I.ci/atioii    of   Moses    (1737-8). 
The  IVorks,  edited  by  Kirhard  Ilurd,  iSii,  ]],  95. 


253]  CRITICISM    OF    MILTON  161, 

In  a  spirit  of  condescension,  they  were  attempting  to  show  the  superior 
excellence  of  the  couplet  over  the  unrefined  liberties  of  the  Elizabethan 
tragic  versification.  Unrhymed  verse  in  other  forms  of  poetry  was  felt 
to  be  a  thing  scarcely  to  be  considered. 

But  the  balance  of  power  was  soon  restored  in  favor  of  the  old 
traditions,  though  it  took  a  long  time  to  regain  all  that  had  been  lost. 
The  advantage  came  in  1667,  when  Milton  poured  into  this  unequal 
conflict  10,565  lines  of  one  vast  poem  in  blank  verse.  This  poem,  per- 
haps the  greatest  single  product  of  modern  poetic  genius,  was  not  a 
tragedy,  but  an  epic.  It  was,  therefore,  not  merely  a  defence  of  con- 
tested ground,  but  an  aggressive  invasion  of  the  territory  of  the  oppos- 
ing forces.  Paradise  Lost  lifted  the  controversy  above  the  petty  limi- 
tations of  the  heroic  drama,  and  showed  that  the  real  issues  involved 
were  the  vital  and  universal  principles  of  poetry  itself. 

Upon  tliese  fundamental  principles  of  poetry,  Milton  himself  made 
one  authoritative  pronouncement,  which  was  to  his  mind  final.  This 
statement  was  made  in  The  Verse,  prefixed  to  the  Paradise  Lost  in 
1668.  In  this  Preface  Milton  asserted  that  "heroic  verse  without  rime" 
was  the  real  classic  verse  of  Homer  and  Virgil;  that  "rime  ....  (was) 
no  necessary  adjunct  or  true  ornament  of  poem  or  good  verse,  in  longer 
works  especially,  but  the  invention  of  a  barbarous  age,  to  set  off 
wretched  matter  and  lame  metre ; ' '  and  that  the  modem  ciistom  of 
rhyming  had  led  to  inferior  poetic  expression.  He  affrmed  that,  "not 
■\vithout  cause,"  some  Italian  and  Spanish  poets,  and  "long  since  our 
best  English  tragedies,"  have  rejected  rime,  "as  a  thing  of  itself,  to 
aU  judicious  ears,  trivial  and  of  no  true  musical  delight."  This  true 
poetic  delight,  he  then  defined,  as  consisting  "only  in  apt  numbers, 
fit  quantity  of  syllables,  and  the  sense  variously  drawn  out  from  one 
verse  to  another,  not  in  the  jingling  sound  of  like  endings — a  fault 
avoided  by  the  learned  ancients  in  poetry  and  all  good  oratory."  He 
claimed  that  his  own  neglect  of  rhyme  was  not  a  defect,  "though  it  may 
seem  so  perhaps  to  vulgar  readers,"  but  was  rather  "to  be  esteemed  an 
example  set,  the  first  in  English,  of  ancient  liberty  recovered  to  heroic 
poem  from  the  troublesome  and  modern  bondage  of  riming." 

In  his  various  Prefaces,  Dryden  was  arguing,  conclusively  it  may 
have  seemed,  for  the  exalted  advantages  of  rhyme.  It  aided  the  mem- 
ory. It  added  life  and  strength  to  repartee.  It  was  an  ornament  of  grace 
and  sweetness  to  the  verse.  It  limited  the  Fancy,  and  curbed  the  wild 
and  extravagant  imagination.  Even  blank  verse  was  elevated  above 
the  dignity  of  natural  conversation:  having  made  this  departure,  the 
superior  poet  must  go  on  to  the  perfection  of  rhyme. 

Obviously  Milton  had  in  mind  these  views  of  Dryden,  some  of 
which  were  more  fully  developed  in  the  later  writings  of  the  latter  poet. 


162  THE    MILTON    TRADITION  [254 

But  such  a  statement  from  Milton,  supported  by  his  reputation  for 
learning,  and  the  excellence  of  two  great  Epics  and  a  Tragedy  upon  the 
true  ancient  model,  inspired  full  confidence  in  those  opposed  to  the  new 
school  of  the  couplets.  Milton  was  unanimously  regarded  the  leader  of 
this  opposition,  Paradise  Lost  was  the  rallying  point  of  all  the  forces, 
and  Milton 's  Verse  was  the  war-cry  of  every  attack  upon  the  couplet. 

No  one  was  quicker  to  perceive  the  authority  of  Milton's  voice  in 
this  matter  than  Drydeu  himself,  who  made  in  1668  a  place  for  blank 
verse  in  heroic  poetry.*'  Andrew  Marvell  was  also  confident  that 
Milton's  was  ultimately  the  true  position  (Trib.  8).  But  there  were  some 
who  denied  to  blank  verse  any  place  in  poetry,  and  consequently  denied 
to  Milton  any  considerable  rank  as  a  poet. 

This  extreme  position  was  taken  by  Thomas  Rymer,  who  proposed 

(1678)  an  attack  upon  the  "slender  sophistry"  of  Milton  respecting 
versification  f'  and  by  Samuel  Woodford,  who  strongly  defended  rhyme 

(1679)  against  the  growing  fashion  of  blank  verse. ''*^  The  spirit  of  both 
of  these  writers  indicated  a  strong  popular  sentiment  in  favor  of  what 
Woodford  called  the  new  fashion  of  the  age.  This  attack  proposed  by 
Rymer  .seems  to  have  been  abandoned.  Perhaps  it  was  blocked  by  the  re- 
actionary Preface  by  Dryden  in  favor  of  blank  verse  for  the  stage.** 
But  the  question  of  rhyme  as  an  essential  of  poetrj'  was  destined  for 
long  debate.  Perhaps  a  final  answer  was  intended  by  The  Athe7iian 
Mercury  in  1694.  The  question  was  formally  asked,  and  this  Oracle  of 
Wisdom  replied:  "No  certainly,  for  none  will  say  Milton's  Paradise 
is  not  Verse  tho'  he  has  industriously,  and  in  some  places  to  a  fault, 
avoided  Rhyme.  ""^  With  equal  assurance,  Gildon  affirmed  (1721),  after 
the  authority  of  Milton,  that  number  and  harmony  alone  were  essential 
to  poetry.'" 

Comparatively  few  critics  were  extreme  enough  to  rule  out  blank 
verse  altogether.  More  numerous  were  those  who  allowed  it  an  inferior 
place  in  poetry.  Such,  in  general,  was  the  position  of  Dryden.  and  of 
most  ©f  his  followers  in  the  pseudo-classical  school  of  poetry.  But  this 
concession  was  u.sually  limited  to  dramatic  versification.  Very  early 
Dryden  admitted  blank  ver.se  into  Tragedy,  and  later  made  it  the  practice 
of  his  own  pen.  But  very  late  in  life,  he  refused  to  "justify  Milton  for 
his  blank  verse,"  though  lie  might  be  "excused"  by  certain  examples 

^'Essay  on  Dratiiatic  Poesie  (i668).    Essays  (Kcr),  I,  94-108. 
"'^Tragedies  of  the  Last  Age  (167S). 

".Sainui-1  Woodford  (1636-1700).    A  Paraphrase  Upon  the  Canticles.     London, 
167Q.     Preface,  p.  21,  marked  "C3." 

"H'reface  to  All  For  Love  (1678).    Essays  (Kcr),  vol.  I. 

"■'V/kt  Athenian  Mercury,  Dec.  26,  1694.     Eng.  Stu.,  1909,  40:180. 

'•r/if  Ijiws  of  Poetry,  1721,  p.  6g. 


255]  CRITICISM    OF    MILTON  163 

in  literary  history.*'  The  defence  of  rhyme  was,  however,  left  largely 
in  the  hands  of  Dryden.  There  was  a  deluge  of  couplets,  from  poets 
great  and  small,  who  made  little  effective  effort  to  defend  the  principles 
of  their  practice. 

Some  of  these  rliymed  productions  have  a  bearing  upon  the  question 
of  Milton's  rank.  One  such  product  was  Dryden 's  State  of  Innocence, 
undertaken  by  Milton's  permission,  and  published  in  1677.  This  work 
was  of  special  importance  in  that  it  afforded  a  just  comparison  between 
the  two  great  masters  of  the  opposing  schools  in  dealing  with  the  same 
subject.  The  comparison  that  was  made  has  stood  the  test  of  time. 
"Mr.  Dryden,"  exclaimed  Charles  Gildon,  "(was)  the  greatest  Master 
of  rhyme  that  ever  we  had  in  England;  but  how  weak,  how  enervated, 
I  had  almost  said,  how  trifling,  is  his  State  of  Innocence,  compared  with 
what  Milton  has  said  upon  the  same  subject  in  blank  verse!"** 

Another  similar  attempt  at  improvement,  incidentally  important 
because  treated  with  silence,  if  not  contempt,  was  Shakespeare  reduced 
to  Couplets,  by  a  Gentleman  of  Quality  (1687).  More  significant  was 
the  regret  of  WoUaston  that  he  did  not  use  blank  verse  in  The  Design 
of  Part  of  the  Book  of  Ecclesiastes  (1691)  ;*"  and  the  repentant  spirit 
of  John  Hopkins  for  having  attempted  to  turn  Milton's  Paradise  Lost 
into  rhyme  (1699).™  "When  I  did  it,"  said  Hopkins,  "I  did  not  so 
well  Perceive  the  Majesty  and  Noble  air  of  Milton's  style  as  I  now  do." 

But  from  the  publication  of  Milton's  Verse  with  his  Epic,  his 
sympathizers  were  bold  in  declaring  the  merits  of  blank  verse,  as  used 
and  defended  by  their  great  master.  On  the  negative  side,  some  dis- 
paraged the  use  of  rhyme ;"'  some  declaimed  it  vulgar  art ;"-  and  some 
condemned  it  outright."^  Milton  was,  with  Dryden,  "the  greatest  Master 
of  English  Versification ; ' '  and  Milton 's  superior  excellence  was  in  the 
freedom  of  his  verse.  He  was  thought  to  have  approached  nearest  to  the 
Ancients,  and  thereby  to  have  opened  up  the  way  of  "perfection  and 

^''Origin  and  Progress  of  Satire  (1693).    Essays  (Ker),  II,  29-30. 

^^The  Laws  of  Poetry,  1721,  p.  121.  Cf.  also  Examcn  Miscellaneum,  Consist- 
ing of  Verse  &  Prose,  Lond.,  1702,  p.  i8g. 

s^Wm.  WoIIaston   (1660-1724). 

"Had  I  been  hardy  enough  like  some  others  (which  too  late  I  see)  to  have 
broken  a  barbarous  custom  and  freed  myself  from  the  troublesome  and  modern 
bondage  of  Rhyming  (as  Milton  calls  it),  the  business  which  now  immediately 
follows,  had  been  something  better  than  it  is."    Eng,  Stu.,  40:179, 

^"Milton's  Paradise  Lost,  Imitated  in  Rhyme,  Bks.  4,  6,  9  (1699). 

siEIkanah  Settle  (1648-1724).    Pastor  Fido  (Li.  1676).     "Prologue." 

^-John  Sheffield  (1649-1721).  Essay  on  Poetry  (1682,  1713,  1723).  Chalmers, 
Eng.  Poets,  10:91-94. 

''Lewis  Theobald,  "Prologue"  to  Orestes;  a  Dra.  Opera  (1731). 


164  THE    MILTON    TRADITION  [256 

growth"  to  the  mother  tougue."^  Some  felt  that  the  highest  excellence 
of  Dryden's  verse  was  attained  in  his  "run-on"  lines,  wherein  he  tended 
toward  the  style  of  Milton  f'^  and  one  writer  of  some  consequence  deliber- 
ately undertook  to  combine  the  excellences  of  the  two  forms  of  versi- 
fieation.^* 

One  author,  who  had  a  life-long  interest  in  Milton,  wrote  a  formal 
treatise  on  versification,  apparently  for  the  purpose  of  tletining  and 
exalting  the  classic  freedom  of  the  Miltonic  verse.""  The  idea  of  rhyme 
being  an  unnecessary  and  barbarous  yoke  imposed  upon  the  free  range 
and  liberty  of  thought,  is  a  note  that  rang  clear  in  almost  every  writer  on 
the  subject.     This  bondage  was  felt  to  be  tlie  source  of  much  mischief. 

Of  many  faults  Rhyme  is  perhaps  the  Cause; 

Too  strict  to  Rhyme,  we  slight  more  useful  Laws ; 

For  that  in  Greece  or  Rome  was  never  knov;n. 

Till,  hy  Barbariiiii   Deluges  o'erflovjii. 

Subdued,  Undone,  they  did  at  last  Ohey, 

And  change  their  own  for  their  Iiiz'iiders  way.''* 

The  pseudo-classical  school  tended  to  emphasize  refinement  of  poetic 
form.  The  adherents  to  blank  verse  emphasized  magnitude  of  thought 
and  grandeur  of  expression.  For  the  one,  restraint  was  essential  to  ex- 
cellence. For  the  other,  all  real  excellence  was  conditioned  uiion  liberty 
of  thought  and  expression,  such  as  that  afforded  by  blank  verse  and 
exemplified  in  the  Paradise  Lost.  Upon  this  liberty  depended  the  possi- 
bility of  attaining  the  excellence  of  the  Ancients. 

In  the  interest  of  tliis  neeessai'y  condition  of  jjoetic  greatness.  Ed- 
ward Phillips  argued  (1675)  that  "Measure  alone  without  any  Rime  at 
all  would  give  far  more  ample  Scope  and  Liberty  both  to  Style  and 
Fancy  than  can  possibly  be  obtained  in  Rime,  as  evidently  appears  from 
an  English  Heroic  poem  which  came  fortli  not  many  years  ago.  and 
from   the   Style  of   Virgil,   Horace,   Ovid,  &c."""     Faitli    in    tJie   larger 

"•T/ic  Whole  Critical  Works  of  Monsieur  Raf<in  (i/O^).  2  toIs.  "Preface  of 
the  Puhlishcr"   (Roscommon?),  vol.  I,  signed  "Nov." 

"•'■C.  Gildon,  The  Complete  Art  of  Poetry,  lyiS.     I,  pp.  .300-303. 

""Isaac  Watts  (1674-1-48).  "Preface"  to  Horae  Lyricae  (1706).  Sec  Clial- 
mers,  Eng.  Poets,  13:19. 

"Wm.  Benson  (1682-1754).  Letters  Concerning  Poetical  Translation:  and 
Virgil's  and  Milton's  Art  of  Verse.  London,  lyis  and  1739.  Benson  erected  the 
monument  to  Milton  in  Westminster  Abbey  in  1737. 

'"■Wciilwnrtb  Dillon,  4tli  K.irl  of  Roscommon  (l633-l685>.  .-hi  Lssiiy  On 
Translated  Verse  (1684).  Chalmers,  Rng.  Poets,  8:264.  Spingani,  Crit.  T.ssays 
in  lylh  Cent.,  II,  297-309.     Cf.  also  Tribute  14. 

^"Preface  Theatrum  Poctaruni  (1675).  Spingarn,  Crit.  T.s.uiys  in  tlie  I'lh 
Centurv,  II,  266. 


257]  CRITICISM    OF    MILTON  165 

possibilities  of  blank  verse  was  strongly  advanced  by  Roscommon,  and 
lies  at  the  basis  of  Atterbury's  famous  prophetic  criticism  of  Waller, 
which  is  especially  important  because  of  its  early  date  (1690). 

"Waller's  rhymes  were  always  good and  take  off  the  danger  of  sur- 
feit that  way,  (he)  strove  to  please  by  variety  and  new  sounds.  Had  he  carried 
this  observation,  among  others,  as  far  as  it  would  go,  it  must,  methinks,  have 
shown  him  the  incurable  fault  of  this  jingling  kind  of  poetry:  and  have  led  his 
later  judgment  to  blank  verse.  But  he  continued  an  obstinate  lover  of  rhyme  to 
the  very  last.  He  had  raised  it,  and  brought  it  to  that  perfection  we  now  enjoy 
it  in;  and  the  poet's  temper  (which  has  always  a  little  vanity  in  it)  would  not 
suffer  him  ever  to  slight  a  thing  he  had  taken  so  much  pains  to  adorn.  My  lord 
Roscommon  was  more  impartial :  no  man  ever  rhymed  truer  and  evener  than  he : 
yet  he  is  so  just  as  to  confess,  that  it  is  but  a  trifle;  and  to  wish  the  tyrant  de- 
throned, and  blank  verse  set  up  in  its  room.  There  is  a  third  person  (Mr.  Dry- 
den),  the  living  glory  of  our  English  poetry,  who  has  disclaimed  the  use  of  it 
upon  the  stage ;  though  no  man  ever  employed  it  there  so  happily  as  he.  It  was 
the  strength  of  his  genius,  that  first  brought  it  into  credit  in  plays ;  and  it  is  the 
force  of  his  example,  that  has  thrown  it  out  again.  In  other  kinds  of  writing  it 
continues  still ;  and  will  do  so  till  some  excellent  poet  arises,  that  has  leisure,  and 
resolution  to  break  the  charm,  and  free  us  from  the  troublesome  bondage  of 
rhyming,  as  Mr.  Milton  very  well  calls  it ;  and  has  proved  it  very  well,  by  what 
he  has  wrote  in  another  way.  But  this  is  a  thought  for  times  at  some  distance ; 
the  present  is  a  little  too  warlike :  it  may  perhaps  furnish  out  matter  for  a  good 
form  in  the  ne.xt,  but  it  will  hardly  encourage  one  now  :  without  prophesying,  a 
man  may  easily  know  what  sort  of  laurels  are  like  to  be  in  request.''^"" 

By  1706  George  Granville  (1667-1735)  was  discussing  the  various 
kinds  of  subjects  that  were  suited  to  the  several  kinds  of  verse-form, 
with  serious  reflections  upon  the  use  of  blank  verse.^"'  It  looked  then  as 
if  Atterbury'.s  prophecy  were  destined  to  an  earlier  fulfillment  than  the 
prophet,  in  1690,  may  have  thought  possible.  The  imitations  of  Miltou 
at  this  time  will  show  something  of  the  same  promise.  In  1721,  Gildon 
took  a  historical  survey  of  the  whole  controversy,  and  confidently  affirmed 
as  a  fact  the  triumph  of  blank  verse  for  use  in  long  poems,  as  suggested 
in  Milton's  Verse.^°-  One  does  not  wonder,  therefore,  to  hear  Aaron 
Hill,  soon  afterwards,  exhorting  the  poets  to  rise 

'^""Prefnce  to  the  Second  Part  of  Mr.  Waller's  Poems  (rdgo).  Chalmers,  Eng. 
Poets,  8 :33. 

lO'Lord  Lansdowne,  The  British  Enchanters.  "Preface."  Chalmers,  Eng. 
Poets,  II  :4i. 

Prior  discussed  also  the  same  question  as  to  his  own  practice.  "Preface"  to 
Solomon  on  the  J'anity  of  the  World  (1718).  Chalmers,  10:206-7.  Aldine  Ed., 
II,  84. 

^"-The  Laws  of  Poetry,  1721,  pp.  65-69. 


166  THE    MILTON    TRADITION  [258 

Up  from  the  poppied  vale !  and  ride  the  storm 
That  thunders  in  blank  verse  l'"^ 

The  general  effect  of  this  controversy  about  versification  was  to 
exalt  the  rank  and  honour  of  MUton.  Not  one  step  of  advancement  in 
theory  was  made  upon  Milton's  Verse;  but  the  constant  attention  de- 
voted to  his  theory  and  exalted  practice  brought  many  to  realize  the 
truth  of  Milton's  position.  Obviously,  the  full  import  of  this  side  of  the 
Miltonic  interests  can  neither  be  measured  nor  appreciated  apart  from 
the  re-aetion  to  his  influence  upon  verse-form,  seen  in  the  multitudes 
of  Imitations.  Obviously  too,  the  triumph  at  this  point  seems  less 
complete,  and  perhaps  was  less  so,  for  this  is  the  special  point  of  uncom- 
promising antagonism  between  the  admirers  of  Milton  and  the  dominant 
pseudo-classical  school  of  poetry. 

Such  are  the  lines  of  Miltonic  interests  in  the  general  fields  of  appre- 
/^ation  and  criticism,  by  which(_MUton  rose  from  the  unknown  to  the 
best  kno^vn,  from  obscurity  to  "the  verj^  pinnacle  of  the  Temple  of 
Fame."  It  needs  only  a  moment  of  reflection,  to  see  that  it  was  prac- 
tically all  due  to  Paradise  Lost.  Milton  soai'cdto  the  Heavens  on,  the 
wings  of  his  own  sublimity.  On  the  Continent,  it  was  otherwise.  There, 
as  appears  even  iu  the  English  writings  of  the  time,  Milton's  reputation 
was  made,  or  unmade,  by  his  Prose  Works.  But  in  England,  his  Minor 
Poetry  was  little  noticed,  his  Prose  was  little  liked,  while  his  Epic  was, 
perhaps,  the  most  noticed,  most  read,  most  criticized,  and  finally  the 
most  exalted  Poem  in  the  English  Tongue. 

'"•■'Poem  in  Praise  of  Blank  Verse.  Quoted  by  Warton,  Essay  on  Pope.  II, 
186;  and  Beers,  p.  217.  Dated  about  1726.  Hill,  however,  later  complained  of  the 
"blank  verse  eruptions."     Richardson's  Corrcsp.,  I,  101-104. 


CHAPTER   VI 

CONTROVEESIES  AND   EXPLANATIONS,   1730-1765 

The  period  from  1730  to  1765  was  pre-eminently  a  period  of  com- 
mentaries and  controversies,  concerned  mainly  with  Paradise  Lost.  The 
great  poem  was  defended  against  all  attacks,  and  its  contents  were 
minutely  explained.  In  relation  to  the  Romantic  movement,  this  period 
I  was  one  of  deep  and  rich  preparation  for  that  response  to  Milton,  which 
!was  evident  in  the  preceding  period,  rather  prominent  in  this  period, 
/  and  powerful  in  the  next. 

A  part  of  that  response  was,  however,  due  to  the  Minor  Poems, 
which  were  introduced  into  general  familiarity  at  this  time ;  and  to  the 
Prose  Works,  which  were  rendered  more  or  less  popular.  These  lesser 
lines  of  activity  will  receive  attention  first  in  the  present  chapter. 

About  the  middle  of  this  period  certain  of  the  Minor  Poems  sprang 
into  prominence  as  the  adopted  forms  of  expression  among  the  ode- 
writers,  and  in  the  smaller  poetry  of  the  time.  Such  interests  belong 
properly  to  the  story  of  poetic  imitations.  But  the  earlier  poems  of 
Milton  were  not  without  a  measure  of  general  and  critical  interest  in 
the  present  period. 

Thomas  Warton  declared  that  the  Minor  Poems  of  Milton  emerged 
into  critical  notice  in  connection  with  the  Bentley  Controversy  (1732), 
which  is  discussed  later  in  this  chapter.  The  disputed  point  in  that 
controversy  was  the  aiithenticity  of  certain  portions  of  Paradise  Lost 
which  Bentley  had  regarded  as  spurioiis.  In  opposition  to  these  views 
of  Bentley,  Pearce,  Warburton,  and  others  supported  the  genuineness 
of  the  passages  in  question  by  appealing  to  the  poetic  usages  of  Milton 
in  the  earlier  poetry.  Thus  the  Minor  Poems  came  into  critical  notice 
under  a  heavy  debt  to  the  larger  interests  of  Paradise  Lost. 

The  obligation  was  even  greater  in  the  biographical  interests  that 
marked  the  next  stage  in  the  introduction  of  the  Minor  Poems.  Pre- 
vious to  this  period,  the  life  of  Milton  had  been  written  largely  from 
the  materials  of  his  controversial  Prose  Writings.  But  the  exaltation 
of  Milton,  together  with  the  passing  of  political  malice,  led  the  biogra- 
phers to  realize,  early  in  this  period,  that  Milton's  political  career  was 
in  the  nature  of  an  episode  in  the  life  of  a  great  poet.     Consequently 

167 


168  THE    MILTON    TRADITION  [260 

emphasis  began  more  and  more  heavily  to  fall  upon  the  Minor  Poems 
as  important  to  tlie  history  of  the  poet,  and  as  furnishing  the  real  ante- 
cedents of  Paradise  Lost. 

This  transition  of  emphasis  began  faiutlj-  to  appear  in  the  Life  by 
Fen  ton  (1725),  who  accorded  some  of  the  Minor  Poems  new  notes  of 
praise.  The  new  emphasis  was  prominent  in  the  Life  by  the  Richard- 
sous  (1734),  who  attempted  to  trace,  in  the  earlier  poetry  and  the  prose, 
the  development  of  the  genius  that  produced  Paradise  Lost.  Birch, 
under  the  same  impulse  in  his  Life  of  Milton  (1738),  published  the 
corrected  manuscripts  of  the  great  poet,  as  a  satisfaction  to  these  who 
were  curious  about  the  earlier  experimentation  of  that  genius  whom 
England  honored  above  all  others.  Peck,  in  Ins  Mei»oirs  (1740),  carried 
the  new  emphasis  into  an  analysis  of  the  several  Minor  Poems.  This 
work  marked  a  new  stage  of  introduction,  when  the  Minor  Poems  began 
to  be  treated  on  their  own  account.  Hitherto,  however,  the  introduction 
of  these  earlier  poems  of  Milton  had  been  tlie  conct'rn  of  scholars ;  and, 
even  with  them,  the  Minor  Poems  had  been  emphasized  almost  entirely 
because  of  their  relations  to  Paradise  Lost. 

The  manner  in  which  the  Minor  Poems  became  the  familiar  posses- 
sion of  the  general  public  was  not  the  natural  sequence  of  the  preceding 
labours  of  scholarship.  All  of  tliese  poems,  including  Samson  and 
excluding  Lycidas,  tliat  became  popular  at  tliis  time,  were  .noig  into 
popularity. 

Li/eidas,  tlie  single  exception  to  this  rule,  owed  its  early  introduction 
to  biographical  emphasis,  and,  probably,  in  a  measure,  to  its  place  iu 
Dryden's  Miscellany  (1716,  1727).  The  poem  was  quoted  in  a  very 
familiar  manner  b,y  Wm.  Duncombe  (1735)  ;'  and  it  was  similarly  al- 
luded to  in  the  Vision  of  Patience  (1741),  by  Samuel  Boyse.-  Lyeidas 
seems  to  have  been  eai'lier  known  and  more  widely  read  llum  the  other 
Minor  Poems,  which  depended  for  first  popularity  upon  adaptation  and 
the  support  of  song. 

Comus  was  adapted  for  the  stage  by  Dr.  John  Dalton.  and  set  to 
masic  by  Dr.  Arne,  in  1738.  In  this  form,  tlie  Masque  became  very 
popular,'  was  acted  in  different  cities,  gave  its  autlior,  Dr.  Dalton,  a 
lasting  reputation,*  and  reached  its  historical  climax  on  April  5,  1750, 

'Will.  Duncombe  (1690-1769).  I'ociiis  on  Sev.  Ore.  .  .  .  hy  J.  Huglies,  I'SS- 
"Preface,"  p.  iii. 

=Saml.  Boyse  (1708-1759).  The  I'ision  of  Patience.  ,-))i  .lllepnrical  Poem. 
1741.     Chalmers  Kng.  Pts.,  14:539-^1. 

'Chapter  II,  pp.  .i.S-37,  for  editions.     Warlon'.';  Atilloii.  iy<)i.  pp    xi-xii. 

■•Mo,  Rev.,  March,  1797.     103(22)  :329. 


261 J  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  169 

when  the  literary  men  of  London  puffed  a  performance  of  Comiis  for  the 
benefit  of  Mrs.  Elizabeth  Foster,  Milton's  grand-daughter." 

A  critical  announcement  of  the  original  performance  (1738),  while 
indicating  no  great  popular  familiarity  with  the  poem,  regarded  this 
revival  as  evidence  of  a  wholesome  literary  taste."  Certainly  this  revival 
was  evidence  of  a  new  literary  interest  beginning  to  assert  itself  against 
the  dominant  mode  of  the  times. 

Two  years  later  (1740),  Samson  Agonistes  was  transformed  into  a 
three-act  oratorio,  set  to  music  by  Handel,  and  attained  an  unusual 
popularity  for  that  classical  performance.'  This  tragedy  was  not  un- 
known, having  been  kept  before  the  public  to  some  extent  by  its  historical 
connection  with  the  epjc  poems.*  But  at  this  time  the  modified  tragedy 
was  associated  with  the  Companion  Poems  in  a  manner  effective  for 
their  popularity. 

These  little  masterpieces,  destined  soon  to  be  most  popular,  seem  to 
have  been  the  last  of  the  more  prominent  Minor  Poems  to  receive  separ- 
ate distinctiou.  John  Hughes  had  felt  II  Pcnscroso  incomplete,  and 
supplied  a  supplement.  Dr.  Buncombe,  describing  this  work  of  Hughes, 
pronounced  the  poems  "incomparable"  (1735).  Peck  declared 
L' Allegro  and  II  Penseroso  translated  into  all  modern  languages,  and 
admired  at  home  and  abroad  (1740).  The  Companion  Poems  really 
became  popular  the  year  of  Peck's  commendation,  and  then  through  the 
musical  adaptation  of  them  by  Handel.  They  lie  on  the  border-line 
between  lyrical  and  descriptive  poetry.''  Handel,  perceiving  their  lyrical 
possibilities,  adapted  them  into  song,  set  them  to  his  own  glorious  music, 
and  made  them  a  part  of  his  Samson  Oratorio  (1740).  Their  superiority 
was  felt  at  once  and  their  popularity  was  immediate. 

With  the  foregoing  fact  in  mind,  one  is  prepared  to  appreciate 
the  assertion  of  Joseph  Warton,  that  the  Minor  Poems  of  Milton  were 
sung  into  popularitj'.    Speaking  of  the  Nativity  Ode,  he  said : 

"This  Ode,  (is)  much  less  celebrated  than  L' Allegro  and  Penseroso,  which  are 
now  universally  known  ;  but  which,  by  a  strange  fatality,  lay  in  a  sort  of  obscurity, 

"See  Appendix  J,  where  the  notes  on  Milton's  family  take  notice  of  this  and 
similar  matters. 

^"The  Masque  of  Coinus,  exhibited  at  Drury-Lane,  was  wrote  by  Milton.  It 
is  a  pastoral  kind  of  poem,  and  some  of  as  beautiful  Descriptions  and  Images 
run  thro'  it,  as  are  to  be  found  in  any  of  his  other  Writings.  The  Stile,  as  it  is  rural, 
is  more  simple  and  plain  than  that  of  Paradise  Lost,  and  tho'  there  is  nothing  but 
must  give  infinite  pleasure  to  the  most  exalted  genius,  there  is  nothing  beyond  the 
Comprehension  of  a  common  capacity."     Gent.  Mag.,  March,  1738,  8:151. 

"Chapter  II,  p.  34,  which  shows  9  editions  between  1742  and  1765. 

'"D.  R."  The  Craftsman,  No.  490,  Nov.  22,  1735.     14:186-192,  p.  189. 

'Edward  Bliss  Reed.    English  Lyric  Poetry,  p.  11. 


170  THE    MILTON    TRADITION  [262 

the  private  enjoyment  of  a  few  curious  readers,  till  they  were  set  to  admirable 
music  by  Mr.  Handel.  And  indeed  this  volume  of  Milton's  Miscellaneous  Poems 
has  not  till  very  lately  met  with  suitable  regard."  In  the  same  pages  he  said  that 
Pope  and  Young  were  "more  frequently  perused  and  quoted  than  the  L' Allegro 
and  II  Penseroso  of  Milton."'" 

]\Iost  of  the  Minor  Poems  showed  rather  definite  lines  of  re-action  to 
this  popularizing  activitj^  of  the  stage  and  song.  Lycidas  provoked  some 
formal  criticism  at  the  hands  of  William  Shenstone,  because  of  its 
interest  as  an  elegy.  He  discussed  the  versification,  mentioned  "two 
recent  and  beautiful  imitations,"'  and  regarded  the  verse-form  as  the 
best  for  an  elegy  of  length,  though  he  was  never  fully  reconciled  to  the 
remoteness  of  the  rhymes."  But  the  real  re-action  to  Lycidas  was  more 
productive  than  critical.  The  poem  allied  itself  with  the  Druid  ele- 
ment of  the  Celtic  re\'ival,  as  plainly  appeared  in  the  emphasis  of 
Warton's  Essay  on  Pope,^-  and  in  the  writings  of  Dr.  Ilugli  Blair,  who 
was  able  to  point  out  remarkable  parallels  in  the  Poems  of  Ossian}^ 

Comus  was  the  inspiration  of  some  imitations,  but  of  very  little 
formal  criticism  at  this  time.  The  distinctive  rc-actioii  to  the  popu- 
larity of  this  Masque  was  a  peculiar  chorus  of  echoes  in  tlie  poetry  of 
this  mid-century  period. 

Comus  was  quoted  to  show  "the  tender  Emotions  of  a  Heart  in 
Love  infinitely  more  pleasing  than  tlie  sliort-lived  Extacies  of  Vice  and 
Wantonness.""     Lord  Melcombe  placed  the  following  significant  lines 

"Under  the  Busto  of  Comus,  in  a  Buffet  at  llammersmiih:" 

While  rosy  wreaths  the  goblet  decks, 
Then  Comus  spoke,  or  seemed  to  speak ; 
"This  place  for  social  hours  designed. 
May  Care  and  Business  never  find.  &c.''' 

^°Essay  on  Pope.     1756.    5ih  cd.,  vol.  i,  pp.  36-38. 

I'Wm.  Shenstone  (1714-1763).  A  Prefatory  Essay  on  Elegy.  Works  in  Verse 
&■  Prose.    ^  vols.    J777.    1:21-22.    Chalmers  Eng.  Pts.,  13:264. 

"Jos.  Warton  (1722-1800).  E.ssay  on  Pope  (1756).  7,  3.S6-  ."^th  Ed.  Cf. 
Beers,  Ronianlicisin,  192-3. 

i-niugh  Blair.  D.D.  (1718-1800").  .4  Crit.  Disser.  On  the  Pms.  of  Ossian.  1763. 
Vol.   I  :7i-222,  pp.  207-8. 

^*An  Essay  on  Love  and  Gaiety.    Gent,  Mag.,  bcb.,  1741.     11:78-79. 

"■■Geo.  B.  Dodington  (d.  1762).  Dated  ".\ug.,  1750."  and  may  echo  the  special 
performance  of  Comus  in  .\pril  of  that  year,     Pearch,  Continuation,  17S3.     i  :329. 


263]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  171 

111  sharp  contrast  with  the  above  was  the  tone  of  Charles  Emily,  in  his 
poem  called  Death  (1762)  : 

The  festive  roar  of  laughter,  the  warm  glow 
Of  brisk-eyed  joy,  and  friendship's  genial  bowl, 

Delight  not  ever :  from  the  boisterous  scene, 
Of  riot  far,  and  Comus's  wild  uproar. 

Permit  me lonely  to  wander.''^ 

Both  tones  of  reminiscence  appear  in  John  Cunningham,  who  in  one 
poem  placed  "Blithe  Comus  to  guide  the  gay  feast,""  and  in  another 
spoke  of  man  spending  "his  rich  hours  in  revelry  .  .  .  with  Comus,  and 
the  laughter  loving  crew."^*  Sir  John  Hill  was  even  more  explicit,  in 
his  poem  called  The  Rout  (1763)  : 

Yet,  to   the  Rout  one  beauty   did  resort. 
Like  Milton's  lady  in  his  Comus-court ; 
One  (as  he  sings)  a  nymph  of  purer  fire, 
A  virgin  worthy  the  celestial  choir.^^ 

Garrick,  too,  who  once  took  part  in  Comus,  did  not  forget  the  essentials 
of  that  Comus-eoui't ;-°  and  even  Gray  recalled  "Comus,  and  his  mid- 
night crew,"  in  his  great  Installation  Ode,  vsritten  for  a  very  formal 
occasion. 

The  re-action  to  Samson  Agonistcs,  was,  on  the  contrary,  so  far  as 
records  indicate,  almost  entirely  critical.  The  Adaptation  was  evidently 
popular,  but  the  original  classical  tragedy  is  the  thing  that  claimed 
critical  attention.  While  the  adaptation  was  in  the  midst  of  its  popu- 
larity. Dr.  Johnson  subjected  the  Tragedy  to  a  most  severe  examination 
(1751)  under  the  rules  of  Aristotle. 

The  Doctor  allowed  the  Tragedy  to  have  "a  beginning  and  an  end  which 
Aristotle  himself  could  not  have  disapproved;  but  it  must  be  allowed  to  want  a 
middle,  since  nothing  passes  between  the  first  act  and  the  last,  that  either  hastens 
or  delays  the  death  of  Samson.  The  whole  drama,  if  its  superfluities  were  cut  off, 
would  scarcely  fill  a  single  act ;  yet  this  is  the  tragedy  which  ignorance  has  admired, 

'"Chas.  Emily  (d.  1762).  Death.  Lloyd's  Mag.,  Oct.,  1762.  1:91-9.  Pearch, 
1:16-26.     Cf.  his  Praise  of  his  (1755).     Pearch,  1:26-38. 

•^John  Cunningham   (1729-1773).     Newcastle  Beer.     Chalmers,   14:453. 

i^Same.     An  Elegy  On  A  Pile  of  Ruins  (1762).     Chalmers,  14:443-5. 

"Sir   John    Hill    (1716-1775).      The   Rout    (1763).     Lloyd's    Mag.,   Jan..    1763. 

1 :3S2-357- 

-"Mr.  Garrick's  Answer  (To  Mr.  Anstey  .  ...  on  Meeting  him  at  a  Friend's 
House).     The  Ptl.  JVks.  London.     17S5.     11:522. 


172  THE    MILTON    TRADITION  [264 

and  bigotry  applauded."  Tlie  sentiments,  too,  he  found  "exposed  to  just  exceptions 
for  want  of  care,  or  want  of  discernment."  This  treatment  he  closed  with  a  long 
list  of  the  beauties  of  the  Tragedy,  and  an  appended  statement  of  his  own  purely 
literary  motive  in  this  examination. =' 

Others  were  concerned  in  the  classical  aspects  of  this  tragedy. 
Hiird  regarded  Samson  (in  1751)  "the  most  artificial  and  highly  fin- 
ished" of  all  Milton's  poems,  and  for  that  reason,  perhaps,  the  most 
neglected,  but  "the  best  dramatie  Essay  on  tlie  Ancient  model. "-- 
Mason  felt  that  ililton  had  adopted  the  ancient  model  out  of  contempt 
for  his  own  age,  and  striving  to  make  the  difference  felt,  had  formed 
"Samson  Agonistes  on  a  model  more  simple  and  severe  than  Athens 
herself  wotdd  have  demanded."'-''  Goldsmith  cited,  with  commendation, 
Milton's  happy  imitation  of  his  Greek  models.-^  But  the  classical  play 
as  such  was  never  popular ;  and  Dr.  Armstrong  thought  it  hopeless  even 
to  transform  Samson  into  a  Tragedy.-"' 

The  Companion  Poems  provoked  in  tliis  period  a  .surprisingly 
small  measure  of  criticism.  The  oratorio  arrangement  of  tlie  poems  had 
served  to  emphasize  their  lyrical  qiialities;  and  in  this  distinctive  char- 
acter they  received  some  critical  attention. 

Peck,  as  stated  elsewhere,  in  his  Memoirs  of  Milton,  defended  these, 
and  other  Jitvt  nalin  of  Milton  against  tlie  strictures  of  Dryden.  Joseph 
Warton  constantly  exalted  these  Jiivcnalia  of  ililton,  as  superior  in 
poetic  character  to  tlie  works  of  Pope.  Smart  advanced  the  lyrical 
qualities  of  these  poems  beyond  the  best  effort  of  the  kind  by  either 
Dryden  or  Pope.  That,  too,  was  the  quality  which  Newton  especially 
commended  in  his  Life  of  Milton.""     Smart  saiil,  in  the  ])reface  to  his 

•^A  Critical  Exam,  of  Sainsoit  Agonistes,  Rambler  No.  139.  July  16,  1751. 
The  Works.  18^5.  II,  p.  81  and  87.  No.  140.  July  20.  1751.  Cf.  also  the  familiar 
echo  of  Samson  in  No.  162.     Oct.  5,  1751. 

^'^Rich.  Hurd  (1720-1808).  The  Work's.  iSii.  I,  73-74:  and  The  Common- 
place Book,  Mem.  289. 

-^Wm.  Mason  (1724-1797).  Letter  11,  prefixed  to  P.lfrida  (1751").  Chalmers 
Eng.  Pts.  18:339-340.     Cf.  Milton's  Intro,  to  Samson. 

-*0.  Goldsmitli  (1728-1774).  Criticism  of  the  Greek  Tragedies  by  Dr.  John 
Burton  (1696-1771).  Mo.  Rev.,  Dec,  1758.  The  Works,  (cd  J.  W.  Gibbs)  4:31s: 
(ed.  Murray)  4:328. 

'"Dr.  John  -Armstrong  (1709-1779),  as  "Launcclut  I'eniplc."  Sketches:  Of 
English  Verse  (I,  157),  and  Of  the  Dramatic  Unities  (II,  241-3),     1758  and  1770. 

=°Thos.  Newton  (1704-1782).  Life  of  Milton,  f.d.  Dublin,  1773.  Vol.  I,  p. 
xxxix. 


265]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  173 

Odes  For  Music  on  St.  Cecilia's  Day  (1746),  that  Dryden's  and  Pope's 
similar  odes  "are  incomparably  beautiful  and  great;  neither  is  there 
to  be  found  two  more  finished  pieces  of  lyric  poetry  in  our  language, 
L' Allegro  and  II  Penseroso  of  Milton  excepted,  which  are  the  finest  in 
any."-'  There  was  also  a  new  interest  in  these  poems  aroused  by  the 
Edition  of  Beaumont  and  Fletcher  (1750),  whose  song  in  The  Passionate 
Madman  was  thought  to  have  been  a  source  of  II  Penseroso.-^ 

But  the  distinctive  re-action  to  the  Companion  Poems,  as  to  the 
Sonnets  also,  was  that  of  imitation.  The  transition  from  the  polished 
rationalism  of  Pope  to  the  imaginative  enthusiasm  of  the  Romantic  poets, 
may  be  looked  on  as  a  valley  of  low  spirits.  The  mist  of  uncertainty 
obscured  the  summits  on  either  side.  There  were  no  poets  of  the  first 
rank,  and  comparatively  little  poetry  of  immortal  excellence.  In  the 
valley  there  were,  however,  a  few  who  rose  enough  above  the  common 
rank  for  notice  in  historical  treatment.  Some  of  these,  as  the  Wartons, 
Collins,  Gray,  and  others,  owed  a  heavy  debt  to  Milton's  Companion 
Poems.  In  this  valle.y  of  depression  and  shadows,  every  one  felt  free 
to  plunder  the  works  of  Milton.  They  stole  his  vocabulary.  They  stole 
his  Personifications.  They  stole  his  verse-form.  They  stole  his  scheme 
of  psychological  contrast.  But  they  could  not  steal  his  spirit.  That  was 
too  high  for  them  to  attain.  The  result  was  that  there  was  much  imi- 
tation, and  little  real  poetry.  Only  those  who  were  great  enough  to 
possess  poetic  powers  of  their  own,  by  which  they  might  supply  a  body 
and  a  soul  to  these  outward  garbs  of  poetry,  produced  anything  that  was 
worth  while.  But  those  wlio  represented  this  type  of  re-action  to  Mil- 
ton's poems  produced  a  small  volume  of  verse  that  is  possessed  of  con- 
siderable merit. 

While  the  nation  thus  diverted  itself  with  the  Minor  Poems  of 
Milton,  everyone  felt  that  the  serious  business  of  Milton,  his  message  to 
the  world,  and  his  influence  upon  that  age,  was  a  question  of  his  Prose 
Writings,  and  even  more  of  his  great  epic.  To  these  the  nation  addressed 
itself  most  seriously,  most  profoundly. 

This  was  the  period  wlien  the  Prose  Works  were  rendered  compar- 
atively popular.  Two  generations  of  those  that  hated  Milton  had  passed 
away.     The  Puritan  movement,  which  had  so  profoundly  affected  the 

^'Christopher  Smart  (1722-1771).  Preface  to  Ode  &e.  1746.  Chalmers  Eng. 
Pts.     16:24. 

-'This  edition  of  Beaumont  &  Fletcher,  10  vols.  (1750),  was  begun  by  Theobold, 
(1628-1744),  and  completed  by  Seward  and  Sympson.  The  suggestion  of  this 
source  relation  was  made  in  the  edition,  and  sanctioned  by  "T.  W."  in  The  Old 
Maid,  Jan.  31,  1756.  Drake,  in  his  Glcanor  (No.  98,  II,  376-383),  printed  this 
article,  and  added  The  Author's  Abstract  of  Melanclioly  ("probably  i()Oo"),  pre- 
fi.xed  to  Burton's  Anatomy  (1621)  as  another  model. 


174  THE    MILTON    TRADITION'  [266 

life  of  England  and  the  American  Colonies,  was  snfficicntly  remote  for 
historical  study,  that  would  throw  light  upou  the  present  problems  of 
depressed  England.  Sloreover,  the  very  depression  of  England  was 
felt  by  many  to  be  connected  with  the  national  losses  sustained  in  the 
defeat  of  the  powerful  and  progressive  Puritan  movement.  The  formal- 
ism of  the  Queen  Anne  Period  had  crushed  the  life  and  spirit  out  of 
the  nation,  and  left  only  a  condition  of  despondency.  The  culmination 
of  many  circumstances  turned  the  minds  of  men  toward  the  Seventeenth 
Century  as  a  possible  source  of  relief  from  depression.  There  was, 
therefore,  in  this  period,  a  revival  of  tlie  political  writings  of  those 
troublous  times,  a  revival  that  concerned  itself  most  centrally  with  the 
Prose  Works  of  Milton. 

The  conduct  of  tliis  revival  was  largely  in  the  liands  of  tliat  pro- 
gressive element  of  the  Whig  Pai'ty  which  later  developed  into  the 
radical  politicians.  Among  these  leaders  one  may  find  the  name  of  the 
Scotch  Poet,  James  Thomson  (1700-1748),  a  student,  lover,  and  imi- 
tator, of  Milton's  verse,  a  whig,  pronounced  but  not  radical,  whose 
political  views  show  many  points  of  symjjatliy  witli  tliose  of  Milton. 
Next  to  him  was  the  more  ardent  whig  biograjilier,  tlie  Rev.  Thos.  Birch, 
D.D.  (1705-1766),  Secretary  of  the  Royal  Society,  who  rose  rapidly  in 
the  church  under  the  pati'onage  of  the  influential  Hardwicke  Family, 
and  whose  j)roiiounced  whigism  in  The  Life  of  Arch-hishop  Tillotson 
(17S2-17r);5)  created  a  commotion  in  the  ranks  of  Toryism.  Closely 
allied  with  Birch  in  many  ways  was  the  republican  Richard  Baron 
(d.  1766),  whose  copious  editorial  work  gave  him  a  prominence  in  the 
progressive  ranks  that  his  native  abilities  would  not  otherwise  justify.-"' 
Another  leading  spirit  in  this  grou]i  that  grew  ever  more  radical,  was  the 
adventurous  Arch-deacon  Francis  Blackburne  (1705-1787),  a  liberal  in 
politics,  with  a  pronounced  antipathy  to  certain  regulations  in  the 
Establislied  Cluirch,-'"  who  late  in  life  publi.siied  Milton's  EikonoJda^tes 
and  the  Tractate  along  witli  a  severe  castigation  of  Dr.  doliiison  for 
abusing  the  great  PiUglisli  Poet.  The  man,  however,  who  most  nearly 
combined  all  these  liberal  elements  and  activities  was  Thomas  Ilollis 

=°Baron  was  a  close  friend  of  Gordon,  author  of  the  Independent  Whig.  :\s 
an  editor,  Baron  made  for  Hollis  a  collection  of  works  defending  tlie  republicanism  of 
the  Seventeenth  Century.  He  edited  the  Dijf.  oh  Govnil.,  by  -Mgernon  Sidney  U/Si). 
Milton's  Prose  (1753),  Ludlow's  Memoirs  (1751),  Eikonoklastes  (1756),  reprinted 
(1770),  Needham's  Excellency  of  a  Free  Stale  (i~S7),  and  was  asked  by  Ilollis  for 
an  edition  of  Marvell.  (D.  N.  B.)  He  also  collected  the  liberal  writings  of 
Gordon,  Hoadly,  Sykes,  .^rnall,  and  Blackburne,  into  his  I'illars  of  Priestcraft  and 
Orthodoxy  Shaken   {1767). 

'"He  held  that  a  pledge  to  accept  and  teach  from  the  Bible  was  all  that  should 
be  required  of  protestant  pastors.  In  1752  he  severely  attacked  Butler's  Serious 
Inquiry  into  the  Importance  of  External  Religion. 


267]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  175 

(1720-1774).  He  claimed  to  be  "a  true  whig,"  but  was  accused  of 
being  a  republican.  He  was  said  to  have  been  very  pious,  but  did  not 
attend  church,  and  was  accused  of  atheism.  His  ancestors  had  con- 
tributed to  Harvard  College,  and  he  did  much  for  the  spirit  of  American 
liberty.  His  extended  editorial  work  did  much  to  revive  the  force  of 
seventeenth  century  radicalism  in  politics.'^  He  was  a  curious  collector 
of  Milton  relies,  regarded  the  great  poet  as  the  Champion  of  English 
Liberty,  and  made  for  himself  some  fame  by  this  alliance  ^vith  the 
views  of  Milton. ^- 

Milton's  History  of  Britain  was  never  without  sympathetic  readers. ^^ 
But  these  leaders  of  liberalism  set  themselves  deliberately  to  make  the 
controversial  writings  of  Milton  known,  understood,  and  popular.  They 
poured  forth  the  spirit  of  those  writings  in  blank  verse  arguments  for 
libert}'.  They  wrote  an  effective  Life  of  Milton.  They  published  his 
Prose  Works  in  two  massive  folio  editions,  and  edited  his  special  Tracts 
in  separate  form.  They  threw  around  those  Works  an  interpreting, 
reinforcing  mass  of  seventeenth  century  literature  of  a  kindred  spirit. 
Above  all,  and  through  all,  they  insisted  that  "all  young  gentlemen 
(should)  study  our  old  writers,  especially  Milton  and  Sidney,  as  one 
remedy  for  those  evils  which  threaten  the  utter  ruin  of  our  country."^* 
By  these  means,  the  works  of  Milton  that  had  earlier  been  condemned 
en  masse,"^  were  brought  into  favorable  notice,  and  caused  to  be  read 
■with  discriminating  attention  and  sympathetic  interest.'"'  Thus  was 
preparation  made  for  a  deep  and  radical  influence  from  Milton's  Prose 
Works  upon  the  political  aspects  of  the  Romantic  Movement. 

But  more  significant  for  Milton's  influence  upon  that  Movement 
as  a  whole  was  the  energy  expended  upon  Paradise  Lost  during  this 

■■"Toland's  Life  of  Milton  and  Ainyntor  (1761),  Sidney's  Discourse  on  Goz'- 
ernment  (1763),  Neville's  Plato  Redivivus  (1763),  Locke's  Tzvo  Treatises  on  Gov- 
ernment (1764)  and  Letters  Concerning  Toleration  (1765),  Staveley's  Romish 
Horse-leech  (1769),  Neville's  Isle  of  Pines  (1768),  Sidney's  Works  (1772)  ;  were 
all  edited  by  Hollis. 

^-The  Memoirs  of  Thos.  Hollis  (1780).  privately  printed.  Edited  by  T.  Brand 
(Hollis),  including  a  portrait  of  Milton,  age  ten,  and  much  curious  information 
concerning  the  poet,     Cr.  Rev.,  Sept.,  1781,  52:161-175.    Chap.  IV,  Note  11  above. 

^■'Appendix  A. 

^'i Preface  to  Baron's  Eikonoklastcs  (1756).  Quoted  by  the  Reviezv,  which  de- 
clared the  nation  under  obligation  to  this  editor.    Mo.  Rev.,  Aug.,  1756,  15:192. 

'■''Cf.  Tributes  No.  21,  23,  32,  etc. 

3«Political  animosity,  of  course,  did  not  at  any  time  die  out.  Cf.  Rich.  Hurd's 
strictures  on  Milton's  Defence.  Commonplace  Book  (Memoirs,  303-305.")  Lady 
D.  Bradshaigh  had  never  read  the  treatise  on  Divorce,  having  "heard  it  much  con- 
demned, as  a  thing  calculated  to  serve  his  own  private  ends."  To  Mr.  Richardson 
(Rich.  Corresp.,  vi,  198.    July  28,  1752).     Chap.  II,  sec.  9  above. 


176  THE    MILTON    TRADITION  [268 

period  of  Defence  and  Explanation.  Having  exalted  Milton  to  the 
skies,  his  admirers  were  jealous  of  his  rank  with  a  devout  and  intolerant 
jealousy.  But  they  had  fully  received  of  his  treasures,  and  were  even 
more  than  willing  freeh*  to  give.  Besides,  these  exalted  treasures  came 
to  have  a  new  significance  in  connection  with  the  Romantic  tendencies 
which  arose  diiring  this  mid-century  period.  This  poem,  which  had 
already  been  successfully  exalted  in  opposition  to  the  dominance  of  the 
heroic  couplets,  became  the  rallying  point  for  imaginative  literature  in 
its  triumph  over  the  rational  element  in  poetry.  Moreover,  the  poem 
had,  in  germ  at  least,  the  essentials  of  many  a  specific  line  of  Romantic 
development.  It  was  but  natural  therefore  that  the  very  spirit  of  this 
age  should  labor  with  a  sword  in  one  hand  and  a  commentary  in  the 
other,  wliile  it  patriotically  built  the  contents  of  this  important  poem 
into  the  heart  and  life  of  the  nation.  The  effect  of  all  this  activity  was 
to  make  the  poem  the  common  possession  of  the  English  public,  and 
thus  prepare  for  a  far-reaching  influence  upon  life  itself,  an  influence 
which  cannot  well  be  measured. 

By  comparison,  this  was  the  great  jM-riod  of  critical  editions  of 
Paradise  Lost.  Before  1730  the  Annotations  of  Hume  had  supplied 
the  demand,  until  tlie  Critique  of  Addison  was  utilized  by  Tonson  in 
his  Edition  of  1720.  But  the  present  period  (1780-1765)  was  ushered 
in  bj'  the  formal  labors  of  the  learned  Dr.  Richard  Bentley  (1662-1742), 
whose  edition  appeared  in  1732.  The  work  was  unwisely  undertaken,^" 
in  response  to  a  request  from  Queen  Caroline,  who  cherished  a  life-long 
interest  in  the  great  Eiiglisli  Poet.  The  earlier  int(>rest  of  tlie  Queen, 
while  she  was  still  the  Princess  of  Wales,  in  befriending  tlie  destitute 
Mrs.  Clarke,  daughter  of  Milton,  is  one  of  the  memorable  and  pathetic 
events  of  Literary  History.  No  doubt  the  Queen  intended  to  present 
to  the  Milton-loving  English  i)eo])le  a  monmnenfal  edition  of  Paradise 
Lost,  with  copious  elucidating  annotations  from  tlie  lore  of  tlie  ancients. 
No  doubt,  too,  she  congratulated  herself  u])ou  securing  for  these  labors 
the  man  who  was  the  very  embodiment  of  Ancient  Learning,  and,  there- 
fore, as  slie  thought,  best  fitted  for  this  work. 

But  tlie  Queen's  edition,  unwisely  undertaken,  was  infinitely  more 
unwisely  executed.  Bentley  was,  with  all  his  learning,  very  poorly 
equipped  for  this  kind  of  work.  He  had  a  rather  keen  sense  of  poetic 
form,  but  very  little  sense  otherwise,  it  would  seem,  about  the  business 
of  the  Muses.  What  lie  did  was  to  invent  a  fictitious  Kditor,  who,  as 
lientley  supposed,  took  advantage  of  .Milton's  Ijlindncss,  [loverty,  ami 
general  odium,  and  interpolated  into  tiie  first  editions  of  Paradise  Lost 
a  lot  of  matter  which  Milton  did  not  write.  This,  of  eour.se,  was  faulty 
in   many   ways,  esiiccially   in   versifii'atioii.     These   sii]i|)osedly  spurious 

"Jas.  DiifT  Diifr.    Ccuiih.  I  list.  /■»;;.  Lit.,  IX,  Cli.  xiii,  pp.  37*^-380. 


269]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  177 

sections  Bentley  took  from  the  body  of  the  text,  and  placed  in  the 
margin  of  liis  edition.  In  the  process  he  thrashed  Milton  most  severely 
over  the  shoulders  of  this  fictitious  Editor.  Upon  this  theory  he  worked 
out  his  new  edition  of  Milton's  Paradise  Lost,  which  was  printed  in  au 
elaborate  volume  of  399  pages  in  1732.  But  the  Editor-theory  was  an 
evident  sliam.  Milton  was  felt  to  be  outraged,  and  his  friends  rose  in 
arms.  One  may  well  imagine  the  poor  Queen's  disappointment,  and 
even  chagrin,  at  the  consequence  of  her  good  intentions. 

Tlie  storm,  however,  did  not  break  all  at  once.  It  had,  on  the  con- 
trary, gathered  graduall.v.  In  1725  Elijali  Fenton  had  brought  out  an 
amended  edition  of  Paradise  Lost,  which  may  have  given  Bentley  some 
suggestions.  This  work  of  Fenton  had  perhaps  some  merits,  and  the 
new  edition  was  popular.  But  there  were  some  objections  and  some 
objectors.  In  1731  The  Traveller  published  Observations  on  an  Edition 
of  Milton  published  in  1725.  This  protest  was  designed  to  show  "a  few 
specimens  of  the  ignorance,  want  of  taste,  and  silly  officiousness  of 
Mr.  Fenton,  in  his  corrections  of  Milton."  The  writer  pronounced  the 
work  of  Fenton  "mean  or  trifling,"  and  regretted  "the  privilege  that 
rich  booksellers  have  of  putting  it  in  the  power  of  any  ignorant  editor  to 
murder  the  finest  authors."^*  Very  soon  the  Grub-Street  Journal  ridi- 
culed the  same  pretentious  critic.^" 

In  September,  1731,  Dr.  Bentley  published  an  Essay  to  Defend  a 
Critical  Emendation  of  Paradise  Lost,  setting  forth  the  general  intentions 
of  this  plan  of  criticism.  At  once  he  received  the  name  of  "fierce 
Bentley;"  and  an  epigramatic  apostrophe  to  Charles  I,  said — "the 
murd'rous  critic  has  avenged  thy  murder."^"  The  Essay  was  only 
a  prelude  to  tlie  Edition,  which  appeared  early  in  1732.  In  his  Preface 
the  politic  Doctor  assumed  an  attitude  of  awe  and  veneration  for 
Paradise  Lost,  played  heavily  upon  the  national  sympathies  for  Milton's 
blindness  and  obscurity  which  laid  him  at  the  mercy  of  any  one  who 
might  care  to  take  advantage  of  these  conditions;  and  marveled  in  con- 
gratulation to  the  nation,  of  course,  that  Paradise  Lost  had  ever  tri- 
umphed over  so  many  difficulties — an  impossible  result  but  for  its 
inherent  greatness. 

But  all  this  would  not  atone  for  the  Doctor's  offense.  A  Letter  To 
Bavins  (Gent.  Mag.,  2:571-2)  entered  a  strong  protest  against  this 
edition.  To  the  Reformer  (2:601)  was  a  severe  castigation  of  the  Doctor 
for  mutilating  Milton's  text.  This  writer  had  "deem'd  it  sacrilege  to 
treat  Milton's  work  irreverently."  A  certain  "A.  Z."  regarded  this 
attempt    overbold    (2:658-9).      By    April    (1732)    the  critical    methods 

■■'^Traveller,   No.  22,  Feb.  6,   1731.     Gent.   Mag.,   Feb.,   1731,   i  :55. 

■'^X'o.  82,  July  29,  1731.    Gent.  Mag.,  July,  1731,  i  ;30i. 

*"Grub  St.  Jour.  No.  99,  pp.  182-3,  and  No.  100,  pp.  183.  Nov.  25  and  Dec.  2,  1731. 


178  THE    MILTOX    TRADITION  [270 

of  Bentle.y  were  uuder  (luestioii.  He  had  claimed  the  emendations 
made  extempore,  without  any  apprehension  of  censure.  One  writer 
admitted  them  extempore,  but  questioned  the  prudence  of  their  publi- 
cation (2:690-1).  "A.  Z.,"  better  informed,  declared  them  under 
preparation  for  eight  or  nine  years,  and  cited  Dr.  Ashenhurst  as  proof 
(2:753-4).  He  exposed  the  real  intent  of  this  supposed  Editor,  as  a 
means  of  covertly  abusing  Milton  himself. .  Other  papers  followed,  with 
much  the  same  ad  Jiomincm  spirit. 

But  time  had  produced  more  scholarly  discussions.  These  mainly 
dropped  the  editor-sham,  which  Bentley  himself  did  not  seriously  credit. 
Zachary  Pearce  (1690-1774)  published  (1732,  1733)  a  Review  of  The 
Text  of  Paradise  Lost,  in  which  the  Chief  of  Dr.  Bentlcy's  Emendations 
are  considered.  Warburton  pronounced  these  criticisms  of  Pearce  "good 
in  their  kind,  but  not  of  the  best  kind."'"  This  work  of  Pearce,  with 
Swift's  Milton  Restored,  and  Bentley  Deposed  (1732)  seems  to  have 
satisfied  scholarship,'-'  but  not  the  national  sense  of  outrage.  That  con- 
tinued to  vent  itself  at  irregular  intervals,'-'  and  today  it  is  calmly 
regarded  that  Bentley  probably  helped  the  cause  of  Milton  to  the  extent 
of  correcting  one  mistaken  long  "s"  for  an  "f".   (VII,  450).     R.  C. 

■"Kurd's  Memoirs,  p.  288. 

••^David  Mallet  (1705-65).  Of  Verbal  Criticism  (1733),  devoted  a  section  to 
Bentley'.?  abuse  of  Milton.  Chalmers,  Eng.  Pts.,  14:9-11.  In  1779  there  were 
Hints  Toward  a  Life  of  Dr.  Bentley.    Gent.  Mag.,  Nov.,  1779.  49:545. 

''•'Upon  Bentley's  Emendations  of  Milton  (1751).  The  Student — Oxford — 
Cambridge  Misc.  (1751),  II,  358. 

When  Milton's  forfeit  life  was  in  debate, 
Some  urged  his  crimes,  and  some  th'  unsettled  state ; 
Hyde  paus'd : — now  keen  resentment  filled  his  breast, 
Now   softness  sooth'd,  while   genius   shone  confessed  : — 
At  length  the  lingering  statesman  thus  his  thoughts  e.xpressed. 

When  I  consider  with  impartial  view, 
The  crimes  he  wrought,  the  good  he  yet  may  do; 
His  violated   faith  and  fictions  dire, 
His  tow'ring  genius  and  poetic  fire ; 
I  blame  the  rebel,  but  the  bard  admire. 
Mercy  unmerited  his  muse  may  raise, 
To  sound  his  monarch's,  or  his  maker's  praise. 

Yet  come  it  will,  the  day  decreed  by  fate ; — 
By  Bentley's  pen  reduc'd  to  woeful  state, 
Far  more  thou'll   dread   his  friendship  than  our  hate. 
Procrustes  like,  he'll  ever  find  pretense 
To  strain,  or  pare  thee  to  this  wretched  sense. 
Rack'd,  skrew'd,  enerv'd  by  emendation  sad, 
The  hangman  had   not  us'd  thee  half  so  bad. 


27 1 J  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  179 

Jebb  has  good  reason  for  further  believing  that  "Bentley's  correction 
(of  ichorous  instead  of  ncctarous,  Book  VI,  332),  if  not  true,  deserves 
to  be  so."     (Richard  Bentley,  pp.  183-4.) 

Critical  editors  profited,  perhaps,  by  Bentley's  fate,  and  later  critical 
editions  fared  better  with  the  public.  The  natural  thing  was  a  conserva- 
tive re-action.  This  appeared  in  the  labors  of  John  Hawkey,  who  com- 
pared Paradise  Lost  with  the  authentic  editions,  and  thus  produced 
a  revised  edition  of  the  poem,  in  Dublin,  17-17.  But  the  time  was  ripen- 
ing toward  a  more  extensive  work  than  had  yet  appeared.  In  order  to  a 
full  appreciation  of  this  larger  work,  it  is  necessary  to  develop  a  differ- 
ent, but  closely  related,  line  of  Miltonic  activity.  That  is  the  work  of 
the  commentators,  and  critics,  for  whose  labors  this  period  is  especially 
noted. 

Milton  was  censured  (1731)  by  John  Clarke  "for  the  impiety  which 
sometimes  breaks  from  Satan 's  mouth ; '  '**  but  the  prevailing  opinion 
was  that  of  excellence  in  this  and  most  other  respects.  Even  Swift, 
who  was  glad  to  see  the  poem  turned  into  rhyme,  declared  that  in  the 
earliest  days  "it  (had)  gained  ground  merely  by  its  merit. "''■''  These 
words  are  like  the  professed  sentiments  of  Bentley,  whose  exceptions  to 
that  "merit"  had  turned  the  attention  of  scholarship  to  particular  poittits 
of  the  exalted  poem.  Resolutely,  the  nation  took  up  the  task  of  setting 
these  matters  exactly  right.  The  age  and  learning  of  Dr.  Bentley  led 
the  critics  and  commentators,  for  the  most  part,  to  treat  his  name  with 
respectful  silence  ;  but  the  force  of  re-action  against  his  criticism  was  felt 
for  many  long  years. 

Among  the  early  critical  papers  of  this  class,  were  the  Remarks  upon 
Spenser's  Poems,  by  Dr.  John  Jortin,^"  which  are  said  to  be  among  his 
best  critical  works.  But  even  these  are  rather  dull  papers,  as  might  be 
expected,  from  a  writer  whose  mind  could  distinguish  between  "absolute 
and  relative  dryness"  in  criticism.  Very  different  in  character,  and  in 
effectiveness,  no  doubt,  was  the  massive  volume  (546  pp.)  of  Explanatory 
Notes  and  Remarks  on  Milton's  Paradise  Lost,  hy  J.  Richardson,  Father 
and  Son,  published  the  same  year  (1734).  The  Father  (1665-1747) 
had  acquired  a  refined  taste  from  his  extended  experience  in  the  sister 
arts  of  literature  and  painting.  The  Son  (1694-1771)  contributed  most 
of  the  classical  learning.     Together  they  produced  a  sympathetic  work 

**Essay  on  Study,  1731,  p.  204.  Dr.  Johnson  later  regarded  this  work  of  Milton 
very  well  done.     Life  of  Milton   (Hill),  I,  173. 

^■'Letter  to  Sir  Charles  Wogan,  July,  1732.  Swift  declared  himself  an  admirer 
of  Milton.     Works  (Scott,  1814),  17:438-445. 

■'"John  Jortin,  D.D.  (1698-1770).  Remarks  on  Spenser's  Poems.  London, 
1734.  Pp.  171-186  treat  Milton.  Disney,  in  his  Memoirs  of  Jortin  (1792)  accredited 
him  with  skill  and  taste  in  criticism.    See  Cr.  Rev.,  Sept.,  1792,  n.  s.,  6:39-45. 


180  THE    MILTON    TRADITION  [272 

that  became  a  standard  eighteenth  eentui-y  counnentary  on  Paradise 
Lost. 

From  the  early  "thirties""  discussions,  incidental  criticisms,  and 
various  helps  multiplied  in  rapid  succession.  In  1735  William  Shenstone, 
whose  interests  in  Milton  were  rather  varied,  prepared  Remarks  on 
Paradise  Lost,  which,  for  some  reason,  have  never  been  published.*' 
Henry  Pemberton  (1694-1771)  exalted  Leonidas  somewhat  at  the 
expense  of  Milton  (1738).  Birch  gathered  up  in  his  Lifi  of  Milton 
(1738)  considerable  famous  and  favorable  criticism  of  Paradise  Lost. 
Benson's  Letters,^^  dealing  with  Milton's  verse,  were  republished  in 
1739.  The  same  year  a  certain  "F.  T."  attempted  to  fultil  Addison's 
promise  to  write  on  Milton's  Borrowing  from  the  Latin  and  the  Greek 
Writers.*''  This  public  spirited  writer  invariably  commended  the 
superiority  of  ililton  over  the  Ancients. 

Such  is  the  exalted  view  of  "William  Smith  (1711-1787),  in  his 
Translation  of  Longinus  on  the  Sublime,  which  first  appeared  in  1739.''" 
Besides  the  Translation,  this  work  contained  copious  Notes  and  Obser- 
vations, which  are  practically  a  eomraeiitory  on  Paradi'ic  Lost  from  the 
standpoint  of  Longinus's  conception  of  the  Sublime.  Smith  constantly, 
and  with  approval,  cited  Addison "s  Critique :  but  also  showed  a  measure 
of  independent  critical  thought.  He  never  wearied  of  (|Uoting  from 
Paradise  Lost  the  choicest  illustrations  of  those  excellencies  of  style 
recommended  by  Longinus.  "The  First  Book  of  Paradise  Lost"  he 
regarded  "a  continued  Instance  of  Sublimity."'  In  no  sense  did  Smith 
allow  ^lilton  to  be  inferior  to  the  Ancients;  and  tliere  is  in  his  book  but 
one  line  of  Milton  quoted  for  censure.  Among  the  i)oints  of  special  in- 
terest, Smith  emi)hasized  Milton's  descriptive  excellence;  his  exalted 
treatment  of  conjugal  love — after  the  idea  of  Voltaire,  no  doubt;  and 
his  effective  portrayal  of  the  Lazar  Iloiise.  Of  the  last,  he  said,  "We 
startle  and  groan  at  this  Scene  of  Misei-ies  in  which  the  whole  Race  of 
Mankind  is  perpetually  involved."  From  about  this  time  ]\Iilton's 
descri|)tion  of  social  disorder  S(>ems  to  have  come  into  a  measure  of 
j)r()iiiiiii'iice. 

While  the  nation  was  buying  the  .second  edition  of  SmitlTs  Tran.<i- 
lation,  it  miglit  also  buy  Peek's  New  Memoirs  of  ]\Iilton  and  of  Cromwell, 
both  of  which  appeared  in  1740.  These  works  threw  about  Paradise  Lost 
a  sort  of  Miltonic  atnios]i}iere,  anil  incidentally,  if  not  intentionally,  corre- 
lated  the  Poem   with   the  liberal  and   progressive   thouglit   of  the  time. 

^"I'.r.  .Mils.  Addit.  .MS.  28964.  -liemarks  o>i  I'.  L..  1735-"  G.  .A.  .\ilkcn,  1).  N.  B., 
"Shenstone.'! 

♦"Benson's  Letters.     1713.     Cli.  V.,  |).  i()4,  note  97. 

■"•Clciit.  Mag.,  July,  1739.    9:359-,36o, 

■■"This  Trans.  (2nd  ed.,  1740)  heciim-  the  staiid.ird  work  on  I.onniinis  in  the 
i8tli  centnry. 


273]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  181 

Consequent  upon  the  quickened  general  interest  in  Paradise  Lost,  the 
public  was  furnished  in  1741  with  a  new  Verbal  Index  to  the  poem. 
This  was  the  fourth  such  work  that  had  appeared.  That  by  Hume 
(1695),  and  by  Tickell  (1720),  have  already  been  noticed.  It  was  not 
noticed,  however,  that  Richardson  added  a  brief  Index  to  his  Notes 
in  1734. 

No  one  can  fail  to  feel  the  significant  bearing  of  much  of  this  work 
upon  the  growdng,  deepening  popularity  of  Paradise  Lost  with  the 
unlearned  masses  of  the  nation.  There  were  those  who  seemed  to  feel  it 
the  part  of  patriotism  to  place  this  national  treasure  within  reach  of  all 
capacities.  Certainly  this  was  the  inspiration  that  produced  the  Com- 
plete Commentary  on  Paradise  Lost  (1744).  This  volume  was  the  work 
of  Dr.  James  Paterson  who  undertook  this  task  with  abounding  enthusi- 
asm. He  assured  the  Reader  that  "Milton's  Paradise  Lost,  being  an 
original  in  its  kind,  an  Honour  to  the  British  Nation,  and  the  prime  Poem 
in  the  world,  is  justly  esteemed  and  admired  by  every  Englishman,  and 
also  by  the  Learned  Abroad."  But  realizing  the  difficulties  that  con- 
front his  uidearned  countrymen  in  the  perusal  of  this  masterpiece,  the 
Doctor  had  copiously,  even  sympathetically,  explained  everything,'*' 
significantly  adding  that ' '  without  such  a  work  the  Poem  is  useless  to  most 
Readers  of  it."  Evidently,  then,  the  poem  was  coming  into  the  posses- 
sion of  the  masses,  and  one  naturally  wonders  how  much  Paterson  may 
have  implied  in  that  word  "useless." 

Another  work,  with  something  of  the  same  popular  designs,  ap- 
peared in  1745.  This  was  The  State  of  Innocence  and  Fall  of  Man 
described  in  Milton's  Paradise  Lost  Rendered  into  Prose — by  a  Gentle- 
man of  Oxford.^-  The  Monthly  Review  attacked  the  publication,  along 
with  the  Rambler  and  other  "pretenders  to  criticism  of  Milton,"  who 
represented  "a  critical  barbarism"  not  less  "destructive  to  learning" 
than  "a  second  irruption  of  the  Goths  and  Vandals."  The  Review 
argued  that  this  "Paraphrastical  Version"  was  unnecessary  even  for  the 
unlearned,  for  whom  the  "obscure  passages"  of  Paradise  Lost  had  al- 
ready been  explained. ^^  But  the  multiplied  editions  of  this  prose  work 
seem  to  show  that  there  was  still  a  place  for  the  popularizing  perform- 
ance, which  may  iiave  been  read  mainly  as  a  treatise  on  some  of  the 

■'■'James  Paterson.  The  full  title  was  A  Complete  Coiumcniary  zcith  Etymolog- 
ical, E.vplaiiatory,  Critical,  and  Classical  Notes  on  Milton's  Paradise  Lost.  Lond., 
1744,  pp.  SI 2. 

''-Geo.  Smith  Green  (d.  1762).  This  work  was  published,  as  it  seems,  under 
varying  titles,  in  1745,  1746?,  1755,  1756,  1767,  i77o(L),  1770?  (Aberdeen.)  With  it 
were  the  translated  Notes  of  Raymond  de  St.  Maur,  and  fourteen  copperplates. 
See  Gent.  Mag.,  June,  1746,  16:332;  Cr.  Rev.,  Nov.,  1756,  2:357.  Green  also  wrote 
two  unacted  plays  on  Oliver  Cromwell  (1752). 

'''Mo.  Rev.,  Dec,  1756,  16:653. 


182  THE    MILTON    TRADITION  [274 

social,  political  and  moral  questions  that  were  then  confronting  the 
nation.** 

By  the  middle  of  the  century  thei'e  was  ftdl  preparation  already 
made  for  an  extensive  work  on  the  part  of  a  judicious  critical  editor. 
The  feeling  was  strong  that  tlie  choicest  fruitage  of  these  separate  critical 
efforts  sliould  be  carefully  garnered  into  a  new  edition  of  Paradise  Lost. 
Among  those  wlio  felt  moved  by  this  spirit  of  the  time,  was  Benjamin 
Stillingfleet  (1702-1771),  a  lover  of  Milton,  and  an  imitator  of  his 
sonnets.  In  the  later  "forties"  he  was  engaged  upon  a  collection  of 
Notes  for  an  edition  of  Paradise  Lost.-''^  But  this  work  was  abandoned  in 
view  of  an  elaborate  edition  that  was  soon  to  appear  from  the  press  of 
Tonson  and  Draper. 

That  great  work  was  tlie  first  varioiis  edition  of  Paradise  Lost  (May 
20,  1749),  edited  by  tlie  Rev.  Thomas  Newton,  D.l).  (1701-1782),  which 
was  indeed  the  first  variorum  edition  of  an  English  classic.  The  Notes 
were  compiled  from  the  earlier  critical  works,  and  supplemented  by 
original  comments  from  Newton  and  others.*"  The  work  was  generally 
applauded  ■.'''  and  in  various  modifications  became  the  standard  edition 
of  Paradise  Lost  for  the  remainder  of  tlie  Eighteenth  Century. 

After  this  almost  every  edition  of  the  poem  came  to  have  some 
kind  of  helpful  attacliment.  J.  Callender  furnished  The  First  Book  of 
Paradise  Lost  witli  a  Commentary,  for  Poulis,  in  Glasgow,  1750.  J. 
Marehant  collected  notes  of  various  authors,  including  Newton,  for 
"Walker's  two  volume  edition,  in  London,  1751.  The  Paris  edition 
(1754)  was  furnished- with  a  Glossary  and  Index,  the  former  of  which 
features  ai)peared  in  the  Dublin  edition  (1765).  A.  Donaldson  added 
"prefatory  cliaracters  of  the  several  pieces"  to  the  Poetical  IVorAs 
(1762).  John  Wood  produced  "a  new  edition"  of  I'aradisc  Lost  with 
notes  variorum  in  1765. 

Meantime  the  Paradise  Regained  was  not  entirely  neglected,  though 
it  was  never  highl_y  exalted.  Edward  Phillip.s  seems  to  liave  spoken 
the  voice  of  all  time,  when  he  said  that  Paradise  Reejained  was  "gener- 

■'"'To  tliis  list  of  commentaries  must  be  .Tddeil  tlie  New  Remarks  on  P.  I.,  in 
R.  Richardson's  /.oiloiiiastix  (1747);  and  in  the  Critical  Obs.  on  SImkesf'care  by 
Jolin  Upton,  editor  of  Spenser,  who  in  his  second  edition  (1748),  devoted  a  whole 
page  of  the  Index  to  "Milton,"  and  all  to  Paradise  Lost,  except  three  references  to 
Samson,  and  one  to  the  Sonnets. 

°*Stillingneet  used  a  copy  of  Bentley's  original  edition  (1732),  which  is  now  in 
the  Br.  Mus..  and  has  "copious  MS.  notes"  by  the  original  owner. 

""Among  the  noted  contributors  to  this  work,  was  Robert  Tliyer  (1709-1781), 
who  edited  Rutler'.s  Remains  (175(5), 

"'For  some  reason,  the  work  did  not  commend  itself  to  Tlmmas  I'dwnrds,  who 
blamed  "the  great  people"  for  the  success  of  this  "bad  edition  "  Riiliaritson's 
Correspondence.  Ill,  11.  24.     March  30,  and  May  8,  1751. 


275]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  183 

ally  censured  to  be  much  inferior  to  the  other,"  Milton's  jealousy 
notwithstanding."'*  In  1732  Ricliard  Meadovvcourt  (1697-1769)  pub- 
lished A  Critique  of  Milton's  Paradise  Regained.  This  work,  which 
seems  to  have  become  the  recognized  standard  commentary  on  the 
smaller  epic,  appeared  in  a  second  edition  (1748).  In  1734,  Jortin 
claimed  that  the  poem  had  "not  met  with  the  approbation  that  it 
deserves;"  and  Warburton  regarded  this  poem  and  Samson  as  perfect 
of  their  kind.'^^  But  the  poem  was  never  satisfactory  to  the  readers  of 
the  major  epic."'"  The  best  of  all  these  materials,  with  original  matter, 
was  collected  into  Newton's  Edition  of  the  Poem  (1752),  which,  with 
the  Minor  Poems,  completed  his  popular  Edition  of  Milton's  Poetical 
Works. 

That  these  popularizing  endeavors  were  effective  is  evident  in  the 
popular  reaction  to  Milton's  Epic.  Familiarity  with  Adam  and  Eve 
was  a  public  nerve  upon  which  the  book-trade  constantly  played  in  the 
invention  of  new  titles.**'  It  became  a  requirement,  that  one  must  be 
familiar  with  these  exalted  personages,  or  at  least  affect  that  familiarity, 
as  a  matter  of  fashion.  Gray  declared  "The  world — obliged  by  fashion 
to  admire"  Milton.*-  The  young  gallant,  called  suddenly  away  from 
his  lady-love  in  a  flower  garden,  must  apologetically  declare  "himself 
in  a  worse  situation  than  Adam  Banished  Paradise,"  and  then  state 
the  reasons  in  a  sonnet.'*'  Even  Lord  Chesterfield  (1694-1773),  who 
affected  an  inability  to  ' '  read  Milton  through, ' '  dared  not  let  this  secret 
be  known  in  England."* 

In  popular  writings,  Milton  was  the  common  possession  of  aU 
readers.  Paradise  Lost  was  quoted,  as  with  the  sanction  of  inspiration, 
on  the  sacred  and  ideal  relations  of  husband  and  wife."^     It  was  cited 

^*Edw.  Phillips,  Letters  of  State,  i6g4,  p.  xxxix.  Masson,  6:655.  Cr.  Rev., 
Feb.,  1761.     II  :i66. 

'"Both  quoted  by  Birch,  ^fitton  (1738).  I,  p.  Ivi. 

*"Cf.  An  Essay  on  M's  Int.  of  the  Ancs.  in  his  P.  L.  With  some  Obs.  on  the 
P.  Regnd.  L.  1741.    Mo.  Rev.,  .'\ug.,  1763.     29:106-117. 

^^ Adam's  Luxury,  and  Eve's  Cookery;  or,  The  Kitchen  Garden  Displayed. 
(Gent.  Mag.,  May,  1744.  14:288).  Cf.  also  the  religious  titles  in  Appendix  G, 
especially  in  paragraph  4. 

'^-Letter  to  Thomas  IVarton.  Oct.  7.  1757.  Works  (Crosse,  1884).  II,  341 
and  325.  The  same  statement  was  made  in  the  Mo.  Rev.,  July,  1762.  27:13.  cf. 
also  Johnson's  Life  of  Milton  (Hill).    I,  163. 

""Sonnet.  Occasioned  by  leaving  B — .r — .  July,  175^.  Probably  by  Dr.  Powis. 
Pearch,  Con.  1783.    3:298,  299. 

"^Letters,  ed.  1893.  II,  559.  "Bath,  Oct.  4,  1752."  To  Mr.  S.  at  Berlin.  (Letter 
Ixxi). 

"'•On  Nuptial  Liberty.  Univ.  Spec,  Dec.  18,  1731.  No.  167.  Cf.  also  The  Gent. 
Mag.,  June,  1738.    8,  298. 


184  THE  MILTON  TRADITION  [276 

as  having  superior  scientific  insight  into  Pleasure  and  Pain,'"'  and  as  an 
authority  in  the  field  of  Astronomy.""  The  Smugglers  in  Essex  were 
compared  to  Adam 's  ' '  Death  "s  Ministers,  not  men  ; '  ""*  and  the  war 
"apparatus"  of  TJw  Bi-itish  Murs.  to  the  military  equipment  of  Milton's 
warring  angels;"^  while  an  Allegory  on  Wit  and  Beauty  carried  the 
reader  at  once  to  the  "myrtle  bower"  of  Eden.""  "Flirtilla"  began  her 
Vision  while  reading  Milton's  Pandemonium;"'  John  Armstrong  empha- 
sized Milton's  omniscience  in  The  Hist  or;/  of  Minorca  (1752)  ;"'-'  and 
the  Author  of  Tivo  Epistles  on  Happin(ss  (1754)  found  it  prudent 
to  mark  the  lines  imitated  from  IMilton.'-'  A  few  years  later,  William 
Law  (1686-1761),  wlio  praised  "The  immortal  words  of  a  Milton  or  a 
Shakespeare,"  regarded  the  prevalence  of  Paradise  Lost  in  the  pulpits 
of  the  time  with  a  measure  of  disapproval.  In  liis  IIi(nible  Address  to 
the  Clergy  (1761),  he  .said: 

"Instead  of  the  Depth,  the  Trutli  and  Spirit  of  the  liuiiibic  Publictin,  seeking 
to  regain  Paradise,  only  liy  a  broken  Heart,  crying  'God  be  merciful  to  me  a  Sin- 
ner,' the  high-bred  Classic  will  live  in  daily  Transports  at  the  eiioniioiis  sublime 
of  a  Milton,  flying  thitlier.  on  the  nnfeatlicred  wings  of  high  sounding  Words.""* 

This  familiar  devotion  to  Milton  was  remarkable  as  a  fact  of  literary 
history.  It  gath(!red  irresistible  force  as  the  decades  went  by.  Against 
it  some  had  attempted  to  oppose  the  uncertain  religious  attitude  of 
Milton,  whicli  gave  ri.se  to  a  spirited  controversy,  triuin]ihant  of  cause 
in  favor  of  the  great  Knglisli  poet."'  But  a  more  formidable  attempt  to 
cheek  this  popularity  gave  rise  to  another  controversy,  whose  spirit  of 
defen.se  is  n  monumental  tribute  to  the  hold  of  Milton's  Paradise  Lost 
upon  the  mind  and  heart  of  the  mid-century  English  people. 

— ■      'T/if  Champion,  Jan.  ig.  1-40.     1  :_'0O.     77i<?  Cleaner,  iSil.     .\'o.  45,  p.  394-400. 

''Thos.  Wright  (  171 1- 1786).  An  Original  Theory  or  Ne"i'  Ilypolhesis  of  the 
Universe,  founded  on  the  Laxvs  of  Nature.  84  pp.,  1750?.  See  Mo.  Rev.,  July, 
1750.     ^  :2i6-2i9. 

«8Gent.  Mag.,  Sept.,  1748.     18:407.     Cf.  P.  L,  .\1,  676, 

""Joseph  Robson.    The  British  Mars.    Mo.  Rev.,  May,  1764.    ,^0:399-406. 

^oThe  Student  (iT5o).     I,  351.     The  Gleaner  1811,  II,  22. 

^'The  Student  (1751),  II,  381.     The  Gleaner  (iSii),  No.  66.     11.   121-7, 

'-Mo.  Rev.,  Aug,  and  Sept.,   1752,  7:155-160,  205-224. 

'■"Mo.  Rev..  Oct.,  I7S4,  Ii:.309-3I2. 

"Wni.  Law  (1686-1761).  ll'orl;s,  London,  17(12,  reprinted  1893,  9  vols.  Vol. 
ix,  pp.  48,  53.  (P.  L.,  V.  297.)  Quoted  in  Mo,  Rev.,  Dec,  1761,  25:419.  Perhaps 
this  part  of  the  Serious  Call  was  never  very  effective.  Cf.  the  sermon  on  The 
Temptation,  by  Edward  Irving  (1792-1834),  which  makes  free  use  of  both  Milton's 
Epics,  and  exalts  liini  as  "the  great  and  venerable  Master  of  English  song."  The 
Collected   Writings,  edited  by  the  Rev.  G.  Carlylc.     Vol.  11,  186-243. 

"■'Religious  Controversy,  .Appendix  E. 


277]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  185 

In  terms  of  that  spirit  there  was  one  man  in  England  who,  Satan- 
like, 

"On  the  Tree  of  Life, 

Snt  like  a  Cormorant 

devising  death      .... 

This  arch-deceiver,  and 

Artificer  of  fraud 

That  practised  falsehood  under  saintly  shew, 
Deep  malice  to  conceal,  couched  with  revenge, 

was  the  Rev.  William  Lauder  (d.  1771),  who  "with  jealous  leer  malign, 
eyed  askance"  the  deepening  popularity  of  Milton  as  a  "Sight  hateful, 
sight  tormenting. '  '•  •* 

This  Lauder  attempted  to  ruin  the  high  reputation  of  Milton.  The 
attack  was  made  in  1747.  The  motive  was  largely  a  matter  of  malice 
and  personal  revenge  for  the  treatment  accorded  certain  of  Lauder's 
earlier  publications.  If  the  Bentley  Controversy  was  a  storm,  this 
Lauder  affair  was  a  cyclone.  First  the  Nation  was  startled :  then  it 
soberly  reflected ;  and  then  it  wreaked  a  terrible  revenge  upon  tliis  Forger 
for  insulting  the  name  of  beloved  Milton. 

The  visible  interest  of  Lauder  in  Milton  dates  back  at  least  to  1732, 
when  he  translated  A  Poem  of  Hugo  Grotius  on  the  Sacrament  into 
English  blank  verse.''  In  1739  Lauder,  as  was  afterwards  pointed  out, 
gave  Milton  "a  character  as  high  and  honorable  as  ever  was  bestowed 
upon  him  by  the  most  sanguine  of  his  admirers."'^  Very  soon,  however, 
Lauder  appeared  to  be  very  much  enraged  against  Milton  and  all  his 
admirers.  In  1741  there  appeared,  anonymously.  An  Essay  %ipon  Mil- 
ton's Imitations  of  the  Ancients.  This  probably  gave  Lauder  a  sugges- 
tion for  his  attack.  A  furtlier  suggestion  may  have  occurred  in  the  fol- 
lowing circumstance.  In  October,  1746,  the  Gentleman's  Magazine  pro- 
posed to  print  The  Beginning  of  Paradise  Lost,  with  six  Latin  Trans- 
lations. Three  of  these  (by  Ludovicus  de  Bonneval,  M.  B(old),  and 
"T.  P.")  were  printed  in  October,  and  two  of  them  (by  "J.  C",  and 

"P.  L.,  IV.  194-;,  I2I-3.  503-5- 

'"The  Christ's  Passion  of  Grotius  was  Translated,  in  1639,  by  Geo.  Sandys 
(1578-1644).  This  was  a  kind  of  ac.idemic  Bible  play,  in  line  with  Peele's  David 
and  Bethsabe  (1589),  and  Samson  Agonistes  (1671).  Schelling,  His.  Eng.  Dra., 
II,  394.  Milton's  political  writings  were  associated  with  those  of  Grotius,  by  Sir 
Robert  Filmer,  in  his  Obs.  concerning  the  Original  of  Government  upon  Mr. 
Hobs's  Leviathan,  Mr.  Milton  against  Salmatius,  H.  Grotius  De  Jure  Belli.,  Lon- 
don, 1653. 

''^Johnson's  Works,  1825,  V,  259n. 


186  THE    MILTON-    TRADITION  [278 

J.  Trapp,  D.D.),  in  December.  The  sixth,  which  probably  would  have 
been  that  by  William  Hog,  was  not  printed."^  This  may  have  suggested 
the  materials  for  Lauder's  malicious  pen. 

At  any  rate,  in  January,  1747,  he  published  the  first  draft  of  An 
Essay  on  Milton's  Imitation  of  the  Moderns.  (17:24-6).  In  this  Essay 
he  startled  the  Nation,  by  attempting  to  sliow  "that  Milton's  Paradise 
Lost  was  largely  constructed  of  plagiaristic  jiaraphrases  of  a  Latin 
poem,  entitled  Sarcotis,  by  Jacobus  Masenius  (1654)."  The  lovers  of 
Milton  rallied  to  his  defence,  and  the  war  of  words  was  waged  largely 
through  the  colunnis  of  the  Grntlcman's  Magazine. 

Apprehending  that  this  Essay  would  "excite  no  little  speculation," 
the  editor  of  the  Magazine,  Edward  Cave,  requested  Lauder  to  send 
"a  close  version  of  the  lines  which  are  said  therein  to  have  furnished 
sentiment  to  Milton."  (17:24).  In  the  next  issue,  "R.  A."  requested 
"specimens  from  these  authors,"  and  expressed  Iiimself  as  ilnpatiently 
waiting  the  sequel.  (Feb.,  17:58).  Lauder,  who  was  signing  only  his 
initials  "W.  L.",  replied  to  Cave,  promising  a  Pamphlet  (17:82).  He 
also  continued  his  Essay,  giving  long  extracts  from  Adamus  Exsul,  by 
Hugo  Grotius  (17:82-6).  "Miltonicus, "  however,  had  less  patience. 
He  demanded  that  "W.  L."  sliow  "tolerable  reasons  for  wliat  he  ad- 
vances; but  till  he  does  that  lie  must  not  be  surprised  if  an  English 
reader  proves  somewhat  resty  in  giving  up  his  opinion  of  Milton's 
genius  and  fancy."  "j\Iiltonieus"  doubted  tliat  Milton  ever  saw  Masen- 
ius, and  believed  Milton  in  no  wise  conditioned  upon  such  a  i>erformance. 
(17:67-68).  With  this  Letter,  th(>  editor  declared  several  otlier  gentle- 
men to  be  in  agreement  (17  :68).  Because  of  the  wide  general  interest  in 
this  controversy.  Cave  offered  a  prize  for  the  best  Translation  of  Adamus 
Exsul.  Act  I,  in  Miltonie  verse,  sent  in  before  ^lay-Day.""  Evidently 
the  English  people  were  well  stirreil.  Tlie  materials  contributed  for  the 
March  issue  were  more  than  could  be  handled.  Most  of  them  had  to  be 
excluded  because  of  "long  seasonable  pieces."  But  there  was  a  place 
found  for  the  following  seasonabh'  lines  On  W.  L.'s  Charge  against 
Milton   (.Alareli,  17:145).  by  "Philo-Milton   Pctriburgensis" : 

Critics  avant !  from  sacrilege  refrain, 

\or  Milton's  laurels  witli  rude  hands  propliane ; 

In  vain  Detraction  seeks  to  wound  his  fame, 

Whose  lays  divine  our  adoration  claim ; 

By  no  picrian  draught  inspired  to  sing, 

'"Gent.  Mag.,  Oct.,  1746,  16:548-9,  Dec,  lf):(i6i.  TIic  fdllowiiij;  references, 
unless  otherwise  designated,  are  to  this  Magazine. 

""The  prize  was  to  he  two  folio  vols,  of  Ihi  lliihlr'.t  I  list,  of  China  or  two 
guineas  in  money  (17:86).  In  June,  Cave  ann(iunce<l  i,^  translations.  This  plan 
was  to  have  been  extended  to  otlier  .Acts  of  the  Dramii.  hroni  these  Translations 
a  composite  Translation  was  made,  an<I  |iriiilcil.   l-eh..   174^   (10:67-60). 


279]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  187 

Raptured  lie  drank  at  Sacred  Wisdom's  spring; 
Not  Time's  approach  liis  deathless  numbers  fear, 
Bright  and  more  bright  thro'  each  revolving  year : 
In  paths  unknown,  untried,  alone  he  trod. 
Of  man  the  teacher,  and  the  bard  of  God. 

By  April,  "W.  L."  had  seut  to  Cave  "several  extracts  from  the 
Rev.  Mr.  Andrew  Ramsey's  Poemata  Sacra,  printed  in  Edinburgh, 
1733,"  and  claimed  that  Milton  borrowed  from  these  his  encomium  on 
marriage,  and  other  things,  which  were  promised  in  full  in  a  later 
pamphlet.  It  was  also  promised  that  the  Adamus  Exsul  and  the  Works 
of  Maseuius  should  be  made  public  (17:189).  "G.  S."  was  grateful  for 
these  discoveries  (Maj',  17:211-3),  and  indulged  in  a  blank  verse  trans- 
lation of  the  Description  of  Paradise  (from  Jan.,  p.  25),  one  of  Lauder's 
favorite  passages.  The  thirteen  prize  Translations  were  printed  June 
(Note  80  above).  "W.  B."  applauded  this  work  of  Lauder,  as  likely 
to  destroy  tlie  "superstitious  opinions'"  respecting  Milton's  exalted  per- 
formance, "and  not  diminish  his  reasonable  regard."  The  discoveries 
were  held  only  to  show  how  one  genius  builds  upon  another  in  a  process 
of  perfection.  (17:278-9).  He  suggested  that  this  borrowing  may 
account  for  the  inferiority  of  Paradise  Regained.  ' '  W.  L. ' '  was  encour- 
aged to  send  "a  few  more  passages,  amongst  inumerable  others,  from 
Grotius,  with  parallel  ones  from  Milton."   (17:285-6). 

On  July  21,  Richard  Richardson  published  his  Milton  No  Imitator 
of  Masenius.  He  commended  Lauder  for  declining  the  promised  pamph- 
let, attempted  to  show  that  Paradise  Lost  was  begun  before  Masenius 's 
poem  was  printed,  denied  tlie  likeness  of  many  so  called  parallels,  and 
explained  the  real  similarities  b.y  referring  both  to  the  influence  of 
Homer  (17:322-324).  The  next  issue  contained  a  spirited  reply  from 
Lauder,  signed  In'  his  full  name,  in  which  he  proposed  to  publish  the 
Adamus  Exsid,  with  an  English  version  and  notes,  showing  what  Mil- 
ton had  used  (17:404).  The  Second  Act  of  Adamus  Exsul  was  being 
printed  in  the  Magazine.  Lauder  was  confident.  The  public  was  per- 
plexed. Peeling  ran  high,  and  some  poured  forth  the  Nation's  resent- 
ment in  verse.*' 

S'"Y".     On    Some    Late    Attempts    To    Depreciate    Milton.     Gent.    Mag.,  Aug., 

1/47.  17:395- 

To  toil   for  fame  asks  all  the  poet's  pains: 
And  yet  how  barren  is  the  wreath  he  gains ! 
Thus  Milton,  scarce  distinguished,  bow'd  to  fate, 
And  the  dear-purchas'd  laurel  came  too  late ! 
Yet  in  the  grave  that  laurel  found  its  root. 
And  flourish'd  high,  and  bore  immortal  fruit. 
His  Muse  a  thousand  imitators  fir'd, 


188  THE    MILTON    TRADITION  [280 

Cave,  who  was  to  take  the  subscriptions  for  Lauder's  edition  of  the 
Adamus  Exsitl,  introduced  him  to  Dr.  Johnson,  who  immediately  became 
interested  in  tlie  new  discoveries.  But  this  edition  was  abandoned  in 
order  that  Lauder  might  perfect  a  new  edition  of  his  Essay  on  Milton's 
Jmifcifion  of  the  Moderns.  As  a  substitute  for  the  Adamus,  perhaps, 
Lauder  proposed  (Nov.  17:530)  to  make,  by  translation  and  expurga- 
tion, a  Latin  school-book  from  Paradise  Lost. 

His  Muse  by  distant  nations  lov"d,  admir"d, 
In  her  all  Homer's — Virgil's  beauties  shone, 
.And  Britain  call'd  the  masterpiece  her  own. 

With  pedant  zeal,  a  modern  Bavius  cries, 
'"Milton  a  genius! — how  encomium  lies! 
From   foreign  shores  his  boasted  plans  lie  drew, 
With  borrow'd  wings,  like  Icarus,  he  flew ! 
Like  sly  Prometheus  stole  the  heav'nly  ray, 
That  made  Iiis  man,  and  warm'd  the  living  clay: 
Too  long  tlie  wretch  has  till'd  the  throne  of  fame, 
Unjust  usurper!  with  a  spurious  claim! 
Not  his,  the  sacred  page  tlie  boaster  writ. 
A  Jesuit*  taught  him  art,  a  Dutchman**  wit ; 
My  pen  the  the  shameful  plagiary  shall  show. 
And  blast  the  bays  that  bind  his  guilty  brow !" 

Enervate  critic ! — cease  thy  fruitless  rage. 

Nor  touch  with  impious  hands  the  hallow'd  page ! 

Bury'd  a-new  in  learning's  rev'rcnd  dust, 

Let  good  Masenius  unmolested  rust ; 

Let  Grotius  the  Civilian's  honour  boast. 

But  as  a  Poet — let  his  name  be  lost ! 

These  were  like  swallows,  when  the  skies  are  clear 

Who  skim  the  earth  and  rise  to  disappear ! 

Like  Jove's  own  bird,  our  Milton  took  his  flight 

To  worlds  unknown,  and  pierced  the  realms  of  light; 

Tho'  heav'n,  all-wise,  corporeal  sight  deny'd ; 

Internal  day  tlie  lesser  loss  supply'd ; 

Disdaining  succour,  and  obliged  to  none 

His  genius  bcam'd  expansive  like  the  sun  : 

And  till  that  glorious  orb  shall  cease  to  shine, 

Till  sick'ning  nature  feel  her  last  decline, 

Truth  shall  preserve  great  Milton's  honour'd  page 

From  Time's  encroachment,  and  from  Envy's  rage ; 

Shall  blast  all  vain  attempts  to  wound  his  fame. 

And  with  new  glories  grace  his  honnur'd  name. 


*Masenius.  **Grolius. 


281]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  189 

Meautime  the  interest  deepened,  not  without  suspicion  of  Lauder's 
integrity.  "C.  B."  published  a  spirited  Vindication  of  Milton  (Sept.). 
He  admired  the  general  impartial  attitude  of  Cave,  but  could  easily  wish 
that  Lauder  had  been  more  roughly  handled.  He  also  suspected  the 
secrecy  of  Lauder's  MSS.,  and  charged  him  with  a  spirit  of  envy 
(17:423-4).  This  charge  was  made  in  verse  by  "W.  K.,"  in  November 
(17:538).  "Philo-Miltonus"  (Oct.  18)  contributed  a  defence  of  Mil- 
ton against  Lauder's  reply  to  "R.  R."  (in  July),  styled  Lauder  'Male- 
pertius',  and  charged  him  with  a  manifestly  dishonest  design  to  ruin  the 
character  of  Milton.  This  contribution  was  not  published  until  Febru- 
ary (18:67-8).  In  November,  R.  Richardson  published  his  Zoilomastix: 
or  a  Vindication  of  Milton  from  the  Charges  of  W.  Lauder  (London). 
He  was  confident  that  Lauder  was  guilty  of  malicious  mischief.  An 
English  Translation  of  the  speech  of  Satan  in  Masenius  was  sent  to  Cave 
from  Louvain  (Nov.,  'Contents')  and  was  published  in  December,  over 
the  name  of  J.  Berington,  who  declared  this  question  one  that  "con- 
cerned the  whole  nation."   (17:567). 

Not  so  much  was  published  in  1748  and  1749.  In  January,  1748, 
Peter  Whalley  was  quoted  (18:25,  114)  as  considering  Lauder's  charges 
against  Milton  extreme,  if  not  indeed  ridiculous.**-  Furius;  or,  a  modest 
attempt  towards  the  history  of  the  famous  W.  L.,  critic  and  thief- 
catcher,  with  respect  to  Milton,  appeared  in  August.  "This  was  a  strong 
invective  against  Lauder,  but  allows  him  to  be  a  great  Latinist. " 
(18-384).  Among  the  best  contributions  of  its  kind  was  a  piece  of 
ingenious  work  in  verse  by  John  Byrom  (1692-1763).  The  piece  is  en- 
titled "Verses,  Intended  To  Have  Been  Spoken  At  The  Breaking  Up 
of  the  Free  Grammar-School  in  Manchester,  in  the  year  1748,  When 
Lauder's  Charges  of  Plagiarism  Upon  Milton  Engaged  the  Public  At- 
tention.'"^'^  The  Master  of  the  School,  in  a  poetic  address,  laid  the 
question  before  the  house.  The  seven  "Lads"  successively  responded  in 
their  poetic  Deferences  of  Milton.  The  situation  is  very  well  handled, 
and  as  an  expression  of  popular  contempt  for  Lauder  the  piece  is 
siiperb. 

But  the  comparative  silence  of  1748  and  most  of  the  following  year 
was  only  a  temporary  cessation  of  hostilities.  The  laublic  was  still  per- 
plexed. The  scholars  were  busy.  Late  in  1749  the  conflict  was  openly 
renewed.  The  trumpet  call  to  arms  was  the  announcement,  in  Decem- 
ber, of  An  Essay  on  Milton's  Use  and  Imitation  of  the  Moderns  in  his 
Paradise  Lost.  Lauder  had  made  out  his  charges  in  completed  form,  and 
had  them  "elegantly  printed."  On  his  title-page  he  placed  the  words, 
"Things  unattempted  yet  in  prose  or  rhyme,"  which  sound  in  this  con- 

"-.4)1  Enquiry  into  the  learning  of  Shakespeare. 

*^John  Byrom  (1692-1763).     Chalmers.  Eng.  Pts.,  15:209-210. 


190  THE    illLTOX    TRADITION  [282 

neetion  like  a  defiance  of  Fate.  The  Essay  had  additioual  weight  in  this 
new  form  from  the  fact  that  Dr.  Johnson  wrote  the  "Preface,"  and 
probably  liad  a  hand  in  the  "Postscript,"  which  gave  considerable 
attention  to  tlie  Milton  Family.** 

The  Monthly  Rcvuw  merely  announced  the  publication,  with  a 
favorable  comment  on  the  English  Translation  (Jan.,  p.  239).  But  the 
Genileman's  Magazine  gave  two  ironical  reviews  of  the  Essay  (20:33-4, 
155-7),  which  were  filled  with  indignation.  J.  Kirkpatriek,  in  the 
Preface  to  his  Sea-Piccc  (Jan.,  1750),  fell  "heavilj-  on  tlie  late  charge 
of  Plagiarism,  brought  against  the  renowned  ]Milton."  lie  thought 
'"there  is  something  not  merely  little,  but  even  absurd  and  immoral  in 
this  injustice  to  the  memory  of  that  sublime  author. '  '*'' 

Feeling  was  intense,  but  no  one  was  getting  at  a  settlement  of  the 
matter.  "Hermolaus  Barbarus"  suggested  that  the  whole  tribe  of 
poets  from  Homer  on  down  ma.v  have  borrowed  from  Milton  (20:224), 
tile  small  question  of  chronology  being  unimportant.  Some  friend  of 
Lauder  contributed  forty  lines  of  verse,  exalting  liim  as  the  champion 
of  Truth,  standing  for  ai'gunient,  without  fear  of  j)raise  or  blame 
(20:231).  Lauder  was  still  confident,  and  published  a  small  volume  of 
Latin  Poems,  in  which  lie  (luoted  eighteen  poets  supposed  to  have  been 
used  by  Milton.  Dr.  Johnson  was  actively  concerned  in  this  publica- 
tion, and  the  jniblie  was  filled  with  excitement.  The  accuracy  of  these 
quotations  was  .suspected  ;  and  Lauder  tlireatened  to  publish  the  poems 
in  four  volumes  (20:336).  This  proposal  called  forth  Vcj-scs,  praising 
the  enterprise  (20:422).  Lauder's  charge  was  reduced  to  a  mere  com- 
jihiiiit  that  ^lilton  did  not  make  foot-note  references  to  his  sources.  It  was 
also  suggested  that  Lauder  make  a  similar  attack  upon  Spenser  who  was 
growing  too  popular  of  late.  "J.  M."  compared  Milton's  use  of  Ger- 
man authors  to  the  extracting  of  sunbeams  from  cucumbers  (20:245). 
Sucli  out-bur.sts  of  feeling,  though  significant,  did  not  solve  the  situation. 

But  thi"  end  was  near  at  hantl.  In  June  (1750),  "C.  R.",  with  the 
prophetic  solemnity  of  l^aniel  before  Belshazzar,  confidently  affirmed 
that  Lauder  should  suffer  for  this  insolence  (Dan.  5:25-31).  This  warn- 
ing was  happily  seconded  by  "L.  M.",  who  compared  Lander  to  Bent- 
ley  in  this  respect  (20:258-9,  269).  Already  the  mills  of  Fate  were 
grinding.  Warbnrton  declai'ed  Lauder's  Essay  a  "most  knavish  book.""" 
In  January  of  this  year  R.  Richardson  had  informed  the  booksellers  that 
the  passages  cited  by  Lauder  were  not  in  the  MSS.  of  the  poems,  but 

^'Johnson's  ll^orks,  iSis,  v,  244-248.  See  Gent.  Mag.,  Dec.,  1749,  19:563.  A 
strong  appeal  is  made  in  this  Lauder  Essay  publication,  and  an  advertisement  for 
subscriptions  is  added,  in  behalf  of  Mrs.  Eliz.  Foster,  Milton's  Granddaughter. 
See  Appendix  J. 

'"T/if  Sea-Piece:  a  Poem.    London,  1750.    Mo.  Rev.,  Feb.,  1750,  Art.  xciv. 

"ONichofs  Lit.  IUu.y,  II.  177. 


283j  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  191 

Cave  thought  that  there  was  some  mistake,  and  did  not  publish  the 
Letter  until  December.  John  Bowie  (1725-1788)  had  also  noted  these 
facts.  About  the  middle  of  November,  John  Douglas,  Bishop  of  Salis- 
bury, (17:21-1807),  publisheil  his  Milton  Vindicated  from  Lauder's 
Charge  of  Plagiarism,  and  Lauder  detected  of  Forgery.  In  announcing 
this  revelation,  even  the  impartial  Cave  could  not  refrain  from  adding 
that  Lauder  had  "admitted  the  charge."  (20:528).  Douglas  showed 
that  Lauder  had  interpolated  passages  of  W.  Hog's  Translation  of  Mil- 
ton (1690)  into  the  other  poems,  and  then  had  cited  these  passages  as 
Milton's  sources.    That  was  all. 

But  that  was  enough.  Dr.  Johnson  compelled  Lauder  to  acknow- 
ledge his  crime,  and  dictated  for  him  (Dec.  20)  an  apology  in  A  Letter 
to  the  Rev.  Mr.  Douglas,  Occasioned  by  his  Vindication  of  Milton  (pub. 
1751).*'  Lauder  added  some  matters,  attempting  to  explain  the  whole 
affair  as  a  practical  joke,  aimed  at  the  blind  worshippers  of  Milton. 
But  the  explanation  was  not  accepted.  Already  the  booksellers  had  dis- 
owned him,  and  brought  out  an  edition  of  his  Essay  "as  a  curiosity  of 
fraud  and  interpolation."  (20:535-6).  Lauder  was  ruined.  He  hung 
about  England  for  a  time,  published  some  Latin  works  (1753),  and  his 
Vindication  of  King  Charles  I.  (1754).  In  the  latter  publication,  he 
severely  abused  Milton,  Douglas,  and  Johnson.  A  Review  said  that  he 
seemed  "absolutely  to  have  declared  war  against  all  decency,  and  even 
common-sense."'*  After  a  time  he  left  England,  and  died  in  disgrace 
(1771).*^ 

^''Johnson's  Works,  1825,  v.  249-271.  Johnson  was  exonerated  in  the  eyes  of 
the  public.  One  wonders  if  this  affair  was  the  cause  of  his  early  paper  on  Repent- 
ance, which  he  closed  with  six  lines  from  P.  L.,  x,  1087-92.  (Rambler,  no,  April 
6,  1751.  Works,  1825,  I  :si8.)  The  Nation  forgave  the  Doctor,  but  did  not  soon 
forget  his  connection  with  the  affair.  Arthur  Murphy  (1727-1805)  lamented  this 
fact,  in  his  Essay  on  the  Life  &  Genius  of  S.  Johnson  (1792).  Nathan  Drake 
(1766-1836)  considered  this  "the  most  extraordinary  literary  imposture  that  the 
world  ever  witnessed,"  and  Johnson's  connection  therewith  "the  most  unfortunate 
occurrence  of  his  life."  {Lit,  Life  of  Dr.  Johnson.  Essays,  Biog.,  Crit.,  Hist,, 
1809,  4:315-328.) 

'*Mo.  Rev.,  Feb.,  1754,  10:145-6. 

^^Lauder's  name  became  a  term  of  scorn  and  a  by-word  in  literature.  Robert 
Lloyd  wrote  his  Progress  of  Envy,  as  an  expression  of  indignation  against  Lauder 
(1751),  Trib.  94.  Verses  Occd.  by  Mr.  Warbtirton's  Late  Ed.  of  Mr.  Pope's  Works 
(1751)  would  like  to  sentence  this  editor  "to  study  epic  under  Lauder."  "S.  S.  S." 
versified  the  comparison  between  The  Bee  and  Milton  Convicted  of  Stealing  (Gent. 
Mag.,  Nov.,  1752,  22:529).  Furius  (p.  189  above),  probably  the  work  of  Mr.  Hen- 
derson, a  bookseller,  was  printed,  with  changes  appropriate  to  the  "Thief-catcher, 
who  has  so  eminently  distinguished  himself  by  his  laudable  attack  on  the  great 
Milton"   (Mo.  Rev.,  Apr.,  1754,  end).    The  Gent.  Mag.  completed  its  original  plan 


192  THE    MILTON    TRADITION  [284 

One  good  arising  from  this  affair  was  the  sanity  that  it  contributed 
to  Miltonic  interests.  After  all.  PanulL^r  Lost  did  not  fall  from  the 
Heavens,  nor  was  Milton  without  his  literary  relationships.  The  Nation 
needed  its  feet  once  more  placed  on  solid  ground  as  to  these  matters. 
Furthermore,  the  effect  of  the  whole  stir  was  to  stimulate  the  general 
interest  in  Hilton.  This  whole  controversy  was  really  a  study  in  the 
probable  sources  of  ]\Iilton"s  great  work.  Tjander  inaugurated  tlie  busi- 
ness with  a  summary  of  what  had  been  done  in  this  particular  tield  of 
stud}\  The  contributions  that  he  made  were  not  inconsiderable,  and 
the  stimulation  that  he  gave  in  this  direction  lastetl  throughout  the 
century. 

Meantime  other  lines  of  interest  were  also  (luiekened.  The  re-actions 
to  this  controversy  naturally  followed  certain  definite  lines.  The  defeat 
of  Lauder  left  Milton,  in  the  national  confidence,  high  and  unassailable. 
More  calmly  then  the  Nation  became  interested  in  ililton's  soiirces, — 
a  line  of  stud.y  which  broadened  into  the  translation,  pid>lieation,  and 
popularity  of  kindred  literary  products  of  other  tinu's  and  other  lands.'" 
This  widening  interest  probably  exercised  an  influence,  not  yet  realized, 
upon  certain  literary  revivals  connected  with  the  Ronumtie  Movement. 
There  was  another  inipidsc  whicli  led  to  a  re-assertion  and  amplification, 
for  the  multiplied  readers  of  Alilton,  of  his  intrinsic  literary  values.  A 
third  line  of  interest  arose  as  a  result  of  all  these  circumstances.  Having 
become  the  familiar  possession  of  all  the  nation.  Paradise  Lost  was  used 
as  tlu'  most  familiar  source  of  illustrative  materials  available  for  a  vast 
range  of  discussions. 

In  the  words  of  Goldsmith,  "the  subject  of  P(inulU(  Lost  (was) 
reverenced  witii  almost  universal  assent."  The  nation  M'ould  "purchase 
a  warranted  original  eo])v  of  the  worst  verses  ^Milton  ever  wrote,  at  ten 
times  the  price  which  the  original  cojty  of  the  P(iradis<  Lost  brought 
him.""'  Such  enthusiastic  confidence  was  connected  closely,  perhaps, 
with  tlie  solid  merits  of  Milton,  emphasized  as  a  result  of  the  Lauder 
controversy.     It  seemed  to  be  the  ambition  of  criticism  to  make  those 

of  printing  tlie  I.alin  'Irs.  of  the  o/tiu'ik/  of  P.  I...  usins  tliat  of  Hog,  of  Dobsoii, 
and  a  new  one  contrilnited  for  this  purpose.  (20:  Dec.,  1750.I  A  new  edition  of 
Mdsciiius  "for  the  satisfaction  of  the  curious"  was  published  1754-  The  Life  of 
Hiifio  Crolius  appeared  the  same  year.  Milton  no  Plogiiiry,  was  reprinted  in  1756. 
Hollis  made  a  sunuuary  of  the  Lauder  outrage  ujjon  Milton,  in  his  edition  of 
Toland's  Life  of  Milloii  (1761,  p.  i26n).  Nor  was  Dr.  Douglas  forgotten.  In 
Goldsmith's  Retaliation,  and  in  the  Supplement  thereto,  Douglas  figures  conspicu- 
ously in  his  detective  capacity  {1774).  (Chalmers,  Eng.  Pfs.,  16:498-501.  Gent. 
Mag.,  Aug.,  1778.) 

^".Appendix  F. 

^^H'orks  (J.  W.  M.  Gihbs),  iv,  290,  362.  Review  of  'I'he  Epigoniait.  Mo,  Rev. 
Sept.,  1757. 


285]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  193 

merits  uaderstood  as  uever  before.  It  is  interesting  to  observe  how  much 
of  this  criticism  indulged  in  psychology,  attempting  to  unfold  the  mind 
of  Miltou,  and  of  his  various  characters. 

Wliile  the  Lauder  controversy  was  still  raging,  John  Hughes  pub- 
lished the  Works  of  Spencer  (1750)  with  An  Essay  on  Allegorical 
Poetry.  He  closely  correlated  the  minds  of  Spenser  and  Milton,  in  order, 
it  seems,  to  exalt  the  hitter's  "exquisite  fancy  and  skill"  in  the  use  of 
Allegory.^-  Dr.  Johnson,  after  the  manner  of  Addison,  attempted 
(1751)  a  series  of  Rambler  papers  in  Criticism  of  Milton's  Versification. 
Naturally  enough,  these  papers  condemned  some  things  essential  to 
effective  blank  verse,  and  Milton's  general  indifference  to  embellishment, 
and  regarded  Milton's  verse  as  an  unsuccessful  imitation  of  Homer 
and  Virgil."'  The  general  question  of  Imitation  came  in  for  extended 
discussion  at  the  hands  of  Richard  Hurd,  in  his  Discourse  on  that 
subject  (1751).  He  found  Milton's  larger  interests  and  successes  to 
arise  from  his  success  in  drawing  upon  "the  genuine  treasures  of  na- 
ture," which  are  the  common  property  of  the  Ancients." 

Samuel  Richardson  (1689-1761)  discussed  with  Lady  Bradshaigh 
(1752),  at  some  length,  the  probable  motive  which  Milton  attributed  to 
Eve  in  her  temptation  of  Adam.'^  Joseph  Warton,  who  became,  at  the 
request  of  Johnson,  a  contributor  to  The  Adventurer  in  1753,""  wrote  a 
popular  paper  for  that  periodical  on  Blemishes  in  the  Paradise  Lost, 
which  gave  a  total  impression  more  of  praise  than  of  blame."'     The. 

^-The  Works  of  Spenser.    6  vols.    Land.,  1750.    I,  pp.  xxi-xxii,  &c. 

^^Ramhler,  Nos.  86,  88,  90,  92,  96.  On  Sats.  between  Jan.  12,  and  Feb.  9,  1751. 
Works,  1825,  I,  398-442. 

8*Hurd's  Discourse  upon  Imitation  (1751)  was  appended  to  his  ed.  of  Horace 
(17S3)  as  a  Dissertation  on  Poetical  Imitation.  (Mo.  Rev.,  Feb.,  1758,  18:114-125.) 
He  handled  two  questions.  (1)  "Whether  what  we  commonly  take  for  Imitations 
may  not,  with  probability  enough,  for  the  most  part,  be  accounted  for  from  general 
causes."  (2)  "Whether,  in  the  case  of  confessed  imitations,  any  certain  and  neces- 
sary conclusions  hold  to  the  disadvantage  of  the  natural  Genius  of  the  imitator." 
He  felt  that  Milton  needed  not  to  imitate,  but  was  able  to  draw,  with  the  ancients, 
upon  the  original  treasures  of  nature. 

"^Richardson's  Correspondence,  vi,  214-225,  Nov.,  1752. 

^"Johnson's  Letters  (March  8,  1753).  Boswell's  Life  (Hill),  I,  253.  Warton 
wrote  24  papers. 

"T/ic  Adventurer,  Oct.  23,  1753.    Brit.  Essayists,  1823,  loi,  vol.  21. 

Warton  regarded  the  description  of  Eden  (Bk.  4),  and  the  battle  of  the 
angels  (Bk.  6)  too  much  of  the  land  of  Romance  to  have  "relative  beauty  as  pic- 
tures of  nature."  "I  think  the  sublimity  of  this  genius  much  more  visible  in  the 
first  appearance  of  the  fallen  angels;  the  debates  of  the  infernal  peers;  the  passage 
of  Satan  through  the  dominion  of  Chaos  and  his  adventure  with  Sin  and  Death ; 
the  niisfion  of  Raphael  to  .\dam ;  the  conversations  between  Adam  and  his  wife; 


194  THE    MILTON    TRADITION  [286 

"Night  Pieces"  of  Miltou  (Paradise  Lost  IV),  Homer,  aud  Shakespeare, 
were  compared,  and  correlated  with  the  writings  of  Young  and  Col- 
lins.'*  Deane  Swift  (d.  1783)  devoted  a  section  to  Milton  (1755)  :^» 
aud  Thomas  Warton  laid  considerable  emphasis  upon  the  values  of  Mil- 
ton and  their  relations  to  popular  taste,'""  and  took  Dryden  severely 
to  t;isk  for  wanting  "a  just  idea  of  jMilton's  greatness." 

Two  unique  productions  in  criticism  appeared  in  the  sixth  decade 
of  the  century,  one  favorable,  the  other  unfavorable,  to  Milton.  The 
first  of  these  was  Joseph  Warton 's  Essay  on  the  Writings  and  Genius 
of  Pope  (1756)  ;  which,  because  of  its  constant  comparisons,  was  almost 
as  much  an  "Essay  on  Paradise  Lost."  This  Essay  was  a  very  pro- 
nounced attack  upon  the  pseudo-classical  school  of  poets,  and  did  much 
to  identify  clearly  and  definitely  the  multiplied  Miltonic  interests  with 
the  advancing  sentiments  of  Romanticism. 

Warton  held  that  "our  English  poets  may  be  disposed  in  four  different  classes 
and  degrees."  (i)  Spenser,  Sliakcspeare,  and  Milton,  and  at  some  distance  Otway 
and  Lee.  (2)  Dryden,  Donne,  Denham,  Cowley,  Congreve.  (3)  Those  character- 
ized by  wit  and  elegance  of  taste,  Prior,  Parnell,  Swift,  Fcnton.  (4)  The  mere 
versifiers,  Pitt,  Sandys,  Fairfax,  Brown,  Buckingham,  Lansdown.  His  problem 
was  then  to  place  Pope  in  this  classification.  Every  one  of  these  classes,  except 
the  first,  was  attacked  by  the  critic  of  this  work.'"' 

Warton  regarded  sublimity  and  the  pathetic  essential  to  great  poetry.  He  ex- 
tolled blank  verse,  and  exalted  Milton  above  Pope  in  respect  to  the  passions.  He 
believed  the  Italian  models  of  Sliakcspeare  and  Milton  superior  to  the  French 
models,  and  regarded  the  Paradise  Lost  as  better  than  Voltaire's  Hcnriadc.     He 


the  creation ;.  the  account  which  .\dam  gives  of  his  first  sensations,  aitd  of  the 
approach  of  Eve  from  the  hand  of  her  Creator ;  the  whole  behavior  of  Adam  and 
Eve  after  their  fir.st  transgression;  and  the  prospect  of  the  various  states  of  the 
world,  and  history  of  man  exhibited  in  a  vision  to  .'\dam." 

He  censured  Milton's  inconsistency  respecting  .■Xdam's  ignorance  at  various 
times;  his  failure  to  describe  elaborately  the  Tree  of  Life;  his  failure  to  satisfy 
expectations  of  a  battle  between  Satan  and  the  guardian  angel  (iv,  end)  ;  "Among 
innumerable  beauties,"  Warton  thought,  "the  most  transcendent  is  the  speech  of 
Satan  at  the  beginning  of  the  9th  book;"  which  Warton  is  more  particular  to 
emphasize  because  it  was  omitted  by  Addison. 

"John  Gilbert  Cooper  (1723-1769).  Letters  on  Taste  (Letter  vii),  ed.  1755. 
This  work  was  praised  by  Johnson.  Cf,  also  a  Review  of  Letters  on  Taste,  in  the 
Mo.  Rev.,  Jan.  1762,  26:13,  where  Milton  and  Shakespeare  are  "beyond  any  of 
their  modern  rivals"  in  ability  to  portray  the  human  heart,  and  to  describe  "every 
object  in  nature." 

""l-ssay  oil  the  Life,  U'ritiiips.  and  Character  of  Jonathan  S-H'ift  (1755).  Sec- 
tion XV. 

^""Obs.  on  the  Fairy  Queene  of  Sl>enser  (1754),  vol.  II,  Section  x,  m7-8.  This 
was  finotcd  in  the  Cr,  Rev.,  Sept.,  1763,  16:225. 

">'Mo.  Rev..  Juno,  1756.  14:528-554;  July,  15:52-78. 


287]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  195 

finally  consented  to  allow  Pope  "a  place  next  to  Milton,  and  just  above  Dryden." 
Warton's  second  volume  did  not  appear  until  1782.  Meantime  there  had  appeared, 
from  the  pen  of  Percival  Stockdale,  An  Enquiry  Into  the  Nature  and  Genuine 
Laws  of  Poetry;  including  a  particular  Defence  of  the  IVritings,  and  Genius  of 
Mr.  Pope  (177S).  This  was  recognized  at  once  as  a  reply  to  Dr.  Warton.  The 
Doctor  had  affirmed  that  no  "process  of  critical  chemistry"  could  reduce  a  passage 
of  Paradise  Lost  to  the  low  levels  of  tameless  prose.  Among  other  things,  Stock- 
dale  attempted  to  prove  the  contrary  by  a  prose  rendering  of  certain  passages  of 
Milton.  Of  course  all  tliis  controversy  furnished  materials  for  popular  entertain- 
ment in  contemporary  criticism.^"- 

The  other  curious  product  of  the  critic's  art  suggests,  in  several 
respects,  a  re-action  against  these  views  of  "Warton.  The  work  is  known 
in  history  as  The  Poetical  Scale  (1758),  and  was  probably  the  work  of 
Goldsmith.'"'  The  Scale  was  not  in  itself  very  much  adverse  to  Mil- 
ton."*    Nor  was  the  author's  conception  of    versification    wanting    in 

">-Cr.  Rev..  Feb.,  1782,  53:97-108;  Aug.,  1778,  46:120-4. 

loaPublished  in  The  Lit.  Mag.,  Jan.,  1758.  IVorks  of  O.  Goldsmith  (J.  W.  M. 
Gibbs),  iv,  417-428.  The  invention  of  the  poetical  scale  was,  however,  attributed  by 
J.  Debrett  (d.  1822)  to  Akenside.  Debrett  printed  two  imitations  of  this  Scale; 
Scale  of  Modern  Beauty,  and  Scale  of  Modern  Talent  (both  1792).  In  the  latter, 
Burke,  Sheridan,  Cowper,  and  Tickell  were  highest  among  22.  (An  Asylum  for 
Fugitive  Pieces,  1795,  4:70-72.) 

lo^r/if  Poetical  Scale   (1758). 

The  idea  of  the  Scale  is  to  grade  the  poets  on  a  basis  of  20  as  perfect,  under 
the  four  heads  of  Genius,  Judgment,  Learning,  and  Versification. 


Genius 

Judgment 

Learning 

Versification 

Chaucer 

(1340-1400) 

16 

12 

10 

14 

Spenser 

(1552-1599) 

18 

12 

14 

18 

Drayton 

(1563-1631) 

10 

II 

16 

13 

Shakespeare 

(1564-1616) 

19 

14 

14 

19 

Johnson  (B?) 

(1573-1637) 

16 

18 

17 

8 

Cowley 

(1618-1667) 

17 

17 

IS 

17 

Waller 

(1618-1687) 

12 

12 

10 

i6 

Fairfax 

(          1635) 

12 

12 

14 

13 

Otway 

(1653-1685) 

17 

10 

10 

17 

Milton 

(1608- I 674) 

18 

16 

17 

18 

Lee 

(1653-1692) 

16 

10 

10 

15 

Dryden 

(1631-1700) 

18 

16 

17 

18 

Congreve 

(1673-1729) 

15 

16 

14 

14 

Vanbrugh 

(1664-1726) 

14 

IS 

14 

10 

Steele 

(1672-1729) 

10 

IS 

13 

10 

Addison 

(1672-1719) 

16 

18 

17 

17 

Prior 

(1688-1721) 

16 

16 

15 

17 

Swift 

(1667-1745) 

18 

16 

16 

16 

196  THE    MILTOX    TRADITION  [288 

trutli  aud  liberality.^""  But  the  Miscellaneous  Thoughts  on  English 
Poets,  which  formed  the  Sequel  to  the  iiiimerical  part,  was  not  so  favor- 
able. The  Sequel  is  coucemed  almost  entirely  with  the  comparison  of 
Milton  as  a  poet  (on  the  basis  of  Paradise  Lost)  with  Shakespeare.  The 
criticism  of  Lliltou  was  delivered  in  the  same  severe  spirit  of  political 
animosity  as  that  which  characterized  the  later  Life  of  Milton  by  Dr. 
Johnson."*  Naturally  enough,  therefore,  this  Scale  was  afterwards  at- 
tributed to  that  eminent  biographer,  as  a  part  of  liis  "deliberate 
malice.'''"" 

An  attempt  to  advance  liberalism  at  tlie  expense  of  pseudo-classical 
views,  applauded  by  contemporary  criticism,  was  made  in  the  very  pop- 
ular Dialogues  of  the  Dead  (1760),  by  Geo.  Lord  Lyttelton  (1709-1773), 
whose  S3'mpathies  with  Milton  were  strong  and  various.     In  Dialogue 

Genius    Judgment    Learning    Versification 


Pope 

(1688-1744) 

18 

18 

IS 

19 

Thomson 

(1700-1748) 

16 

16 

14 

17 

Gay 

(1683- 1732) 

14 

16 

14 

16 

Butler 

(1612-1680) 

i; 

16 

14 

16 

Beau-Fletch 

14 

16 

16 

12 

Hill 

(1684-1750) 

16 

12 

u 

I" 

Rowe 

(1673-1718) 

14 

16 

IS 

16 

Farquhar 

(1678-1707) 

IS 

16 

10 

10 

Garth 

(1660-1718) 

16 

16 

12 

16 

Southern 

(1660-1741) 

IS 

IS 

II 

14 

Hughes 

(1677-1720) 

IS 

16 

13 

16 

'"^"Versification  is  not  only  that  harmony  of  numbers  which  renders  a  com- 
position, whether  in  rhyme  or  blank  verse,  agreeable  to  the  ear,  but  a  just  connec- 
tion between  the  expression  and  the  sentiment,  resulting  entirely  from  the  energy 
of  the  latter,  and  so  Iiappily  adapted  that  they  seem  created  for  that  very  purpose, 
and  not  to  be  altered  but  for  the  worse." 

'""H  this  is  the  work  of  Goldsmith,  his  spirit  must  have  undergone  a  rapid 
change  in  respect  to  Milton.  In  the  Memoirs  of  M.  dc  Voltaire  (1759),  Goldsmith 
seems  to  cite  with  approval  Voltaire's  exaltation  of  Milton  Furthermore,  he  holds 
that  the  Henriade  "sinks  infinitely  below  Milton,  yet  it  will  be  sufficient  to  give  its 
author  immortality."  (Works,  ed.  Gibbs,  4:31-35.)  In  The  Citizen  of  the  World 
("1762).  Letter  XL,  Goldsmith  praised  blank  verse  very  highly.  Perhaps  the  real 
conviction  of  the  author  was  indicated  in  Letter  XIII  of  the  Citizen  of  the  World. 
Therein  he  found,  in  Poet's  Corner  in  Westminster  .Xbbey,  Shakespeare,  Milton, 
Prior,  and  Drayton.  Drayton  was  "never  heard  of  before."  The  other  three  were 
allowed  their  places  unquestioned.  The  discourse  was  concerned  with  Pope's  ab- 
sence. The  author  attributed  this  to  a  want  of  appreciation  of  his  excellency,  an<l 
to  personal  hate  which  obscured  that  excellence.     (Worhs.  Ulurray,  /S5.;,  vol,  II.) 

""Johnson  denied  any  connection  with  this  Scale.    Jas.  Prior,  Life  of  O.  Gold 
smith.  1837,  I,  233-234. 


\ 


289]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  197 

XIV,  he  had  Pope  and  Boileau  to  discuss  the  "Epick  Poet  Milton." 
Boileau  was  represented  as  confident  that  Louginus  would  have  pre- 
ferred Milton  to  Homer  on  the  grounds  of  sublimity.  Pope  replied: 
' '  The  bright  and  excessive  blaze  of  poetical  fire,  which  shines  in  so  many 
parts  of  Paradise  Lost,  will  hardly  permit  the  dazzled  ej^e  to  see  its 
faults."  Pope  proposed  to  explain  the  early  unpopularity  of  Paradise 
Lost  on  the  grounds  of  politics;  but  Boileau  considered  that  the  Nation 
had  made  Milton  good  amends."' 

After  these  Dialogues,  there  were  two  other  popularizing  perform- 
ances in  criticism.  The  next  year  (1761),  William  Massey  published 
Remarks  upon  Milton's  Paradise  Lost,  historical,  geographical,  critical, 
philological  and  explanatory.  The  work  was  severely  censured  as  worth- 
less, by  the  Monthly  Review,  and  praised  for  its  public  spirit  by  the 
Critical  Review.  Massey  had  printed  separately  Newton's  Notes,  for 
economj''s  sake,  since  "Paradise  Lost,  in  some  form  or  other,  is  in  most 
people's  hands. ""^  The  other  work  was  A  Familiar  Explanation  of 
Milton,  held  to  be  of  small  value.""  John  Scott  (1730-83),  of  Amwell, 
also  prepared  "strictures"  on  Milton  and  others  sometime  prior  to 
1776.'" 

•^  This  mid-century  transitional  period  gave  considerable  attention  to 
certain  lines  of  study  that  had  a  more  or  less  direct  bearing  upon  litera- 
ture. Tlie  period  was  essentially  one  of  preparation.  The  materials 
and  dominant  spirit  of  literature  were  not  without  serious  consideration. 
Much  of  poetry  itself  rose  little  above  the  level  of  experimentation.  The 
dictionary,  the  grammar,  the  formal  treatise  on  composition,  eloquence, 
and  criticism,  were  typical  products  of  the  time.  ^Perhaps  the  most 
idiscussed  literary  form  was  the  epic.  But  opinion  was  unsettled.  Half- 
jformulated  Romantic  tendencies  were  rapidly  undermining  the  strong- 
holds of  the  classical  faction.  Among  the  few  things  about  which  there 
/was  little  difference  of  opinion,  was  Milton's  magnificence  in  Paradise 
Lost.  Because  of  its  many  points  of  sympathetic  contact,  and  its  com- 
mon familiarity,  this  poem  entered  into  almost  every  form  of  thought, 
and  fastened  its  liold  more  firmly  upon  the  national  mind,  and  heart, 
and  life. 

Even    Dr.   Johnson    did    not   escape   this   permeating   influence   of 

^"^Misc.  Works.  i7/6,  II,  196-7.  The  Dialogues  were  previously  published  in 
1760,  and  1765.    Cf.  Cr.  Rev.,  May,  1760,  9:390-3,  and  June,  p.  494  (Mo.  Cat.,  30). 

i"^Mo.  Rev.,  Appndx,  1761,  25:497-8.    Cr.  Rev.,  May,  1762,  13:433. 

""Rev.  Wm.  Dodd  (1729-1777).  "One  half  of  the  book  at  least  is  filled  with 
Mr.  .Addison's  Critique  ....  a  kind  of  plagiarism  much  practiced."  (Cr.  Rev., 
May,  1762,  13:433.)  "Alas!  poor  Milton!  who  knows  but  thou  mayst  yet  be  trans- 
formed into  a  spelling-book!"     (Mo.  Rev..  June,  1762,  26:478.) 

"'.Anderson,  Brit.  Poets,  11:723. 


198  THE    MILTON    TRADITION  [290 

Milton's  Epic,  lu  liis  Dictionary  of  the  English  Language  (1755), 
which  is  itself  remotely  connected  with  the  Komantic  appeal  to  first 
principles,  he  drew  7.8 "/i  of  his  literary  illustrations  from  Milton."^ 
The  classical  Burke  illuminated  his  ideas  of  the  Sublime  and  the  Beauti- 
ful (1756)  from  this  same  exalted  source.'"  James  Moor,  discussing 
the  Influence  of  Philosoplui  upon  the  Fine  Arts,  could  find  nothing 
better  with  which  to  compare  the  ideal  beauty  of  Morality  as  treated 
by  Socrates  and  Euripides,  than  the  grace  and  beauty  of  Milton's  Eve."* 

The  Epic  of  JMilton  was  guarded  with  zealous  care.  William  Wilkie 
(1721-1772),  whose  Miltonic  interests  dated  at  least  as  far  back  as  his 
student  days,  was  taken  to  task  for  re-asserting  some  old  views  about 
Paradise  Lost.  He  said  ''the  machinery  oversluulowed  tlie  human  char- 
acters, and  that  the  heroes  of  the  poem  are  all  of  the  immortals."  This 
he  attempted  to  justify  by  references  to  the  irregularity  of  tlie  poem, 
and  by  affirming  it  tragic  in  plot  and  epic  in  dress  anil  macliinery."'' 
With  consummate  spirit,  a  French  critic,  for  his  contempt  of  "our 
Milton"  as  an  epic  poet,  was  bi'auded  with  stupidity  and  ignorance."* 
Perhaps  this  resentment  was  what  gave  rise  to  the  caution  of  R.  Keding- 
ton  (1760).  "'Some,"  he  said,  ''have  not  scru])h'd  to  prefer  ]Milton  to 
the  Grecian  and  Roman  Bards;  and  whosoever  at  tliis  time  ventures  to 
cast  at  his  Paradise  Lost,  must  whisper  his  criticism  with  caution."'" 
The  Art  of  Poetry  on  a  New  Plan,  which  introduced  the  method  of 
mixing  precepts  with  examples,  condemned  other  j)oets  as  not  worthy 
to  appear  as  authorities  with  Milton,  Drydeii,  Pope,  Thomson,  Akenside, 
Ac."" 

Lord  Karnes,  in  order  to  illustrate  ten  chapters  in  his  Elements  of 
Criticism  (1762),  drew  more  or  less  heavily  upon  "our  incomparable 
Milton.""''     Daniel  Webb  (1719-1798),  in  his  K,  marks  on  th<   Beauties 

"^Jolmson  drew  from  Shakespeare  15.6%,  Dryden  ga'/c,  Milton  7.8%,  Addi- 
son 4.3%,  Pope  3.5'/^,  Spenser  2.9%.  This  estimate  is  hascd  upon  an  actual  count 
of  almost  10,000  consecutive  examples.  In  this  count  tlie  King  James  Bible  would 
rank,  perhaps,  between  Addison  and  Milton. 

""Burke  quoted  only  P.  L.  and  AUeuro,  and  these  in  the  ratio  of  4  to  i. 

"*Jas.  Moor,  LL.D.  (1712-1779).  Essays;  Read  at  a  Literary  Soeiety.  Essay 
I.    Mo.  Rev..  Feb.,  1760.  22:107-118.    P.  L.,  8:482-9. 

'^''Preface  to  The  Epigoiiiad  (1757).  Anderson,  Br.  Pts.,  vol.  .xi.  pp.  ix,  xvii,  5. 
Answered  in  An  Essay  on  the  Efiipoiiiad,  Wherein  the  Author's  Abuse  of  Milton 
is  examined.     Edinburgh,  l/.t/. 

'^"Tableaux  tires  de  I'lliads,  de  I'Odyssec  d'Homere,  el  de  I'Eneide  de  I'iriyile: 
avec  dcs  obsen'ations  r/enerales  sur  le  costume.    Cr.  Rev.,  Sept.,  1757.  4:263-264. 

'"R.  Kedington  (d.  1760).  nissertalion  on  the  Iliad  of  Homer  (i759).  Mo. 
Rev.,  Feb.,  1760,  22:118-128, 

""Compiled    by    Jolm    Xcwbery    (1713-1767).      Revised    by    Goldsmith.      Com 
mended,  Cr.  Rev.,  May,  1762.   13:429-430. 

""Henry  Home   {1696-1782).     I^d.  1785,  2  vols.     Fdinburgli. 


291 J  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  199 

of  Poetry  (1762),  and  later  in  the  Observations  on  the  Correspondence 
between  Poetry  and  Music  (1769),  reveled  in  Paradise  Lost;  in  the 
former,  because  of  his  own  special  bias  for  blank  verse ;  and  in  the 
latter,  because  Milton  hail  exhausted  the  ability  of  the  English  language 
to  reach  the  sweetness  of  sound,  or  dignity  of  motion  in  the  Greek 
measures.'-"  Edward  Watkinson  allowed  that  "Exact  propriety,  just 
thoughts,  correct  elocution,  polished  numbers,  may  have  been  discerned 
in  a  thousand:  but  this  poetical  fire,  this  tnvida  vis  animi,  (found)  in 
very  few,  in  Milton,  glows  like  a  furnace,  kept  up  to  an  uncommon 
fervour,  by  the  force  of  art."  "When  Milton  appeared,  the  pride  of 
Greece  was  humbled."  "Our  language  sunk  under  Milton  (unable  to 
convey  a  just  idea  of  the  force  and  fire  of  his  genius,  the  siibliraity  of 
his  flights,  and  the  strength  of  his  imagination).'"-' 

Hugh  Blair  (1718-1800),  whose  sympathies  with  the  liberals  in 
literature  were  rather  pronounced,  seemed  to  regard  Paradise  Lost  as 
the  very  embodiment  of  that  freedom  essential  to  literary  greatness.  He 
said,  "Milton  has  chalked  out  for  himself  a  new  and  very  extraordinary 

road   in   poetry The   subject   which   he   has   chosen   suite<l   the 

daring  sublimity  of  his  genius.  It  was  a  subject  for  which  Milton  alone 
was  fitted  and  in  the  conduct  of  it  he  has  shown  a  stretch  both  of 
imagination  and  invention  which  is  perfectly  wonderful.  .  .  .  Milton's 
great  and  distinguisliing  excellence  is  his  sublimity.  In  this  he  perhaps 
excells  Homer.  Milton  possesses  more  of  a  calm  and  amazing  grand- 
eur.'"- 

This  note  of  independent  individualism,  the  exaltation  of  genius 
above  all  laws,  was  even  more  definitel.y  sounded  in  connection  with  Dr. 
Thos.  Leland's  Dissertation  on  the  Principles  of  Human  Eloquence 
(1764).  It  was  stoutly  affirmed  that  the  difference  between  Milton  and 
Blackraoi'e  is  not  a  matter  of  principles,  but  of  execution.  "The  fine 
arts  have  no  rule  but  genius  to  direct  them."  Milton  and  Shakespeare 
were  cited  as  proof  that  even  antiquity  may  be  excelled.'"^ 

Prom  these  last  citations  it  will  appear  that  Milton  has  lost  noth- 
ing of  that  high  rank  which  he  earlier  enjoyed,  and  that  he  lacks  nothing 
of  being  in  the  forefront  of  the  rising  opposition  to  the  pseudo-classical 

'-"Cr.  Rev.,  May,  1762.  13:401-5.    Mo.  Rev.,  Nov.,  1769,  41:321-8. 

•"/in  Essay  on  Criticism.  This  work  was  published  in  separate  Parts,  and 
received  especially  favorable  notice  in  the  Cr.  Review,  each  Part  being  the  first 
article  in  the  issue  in  which  it  was  reviewed.  Part  I  (Jan.,  1761)  ;  II,  (Mar., 
1763)  ;  III  (July.  1763)  ;  IV  (Jan.,  1764)  ;  V  (July,  1764)  ;  VI  (Jan.,  1765). 

'--Lectures  on  Rhetoric  and  Belles  Lettres,  ed.  1814,  sect.  xliv.  pp.  503-6.  Cf. 
also  Lectures  ii,  iii,  iv,  xvi,  xl,  xlii. 

'-■'Thos.  Leland,  D.D.  (1722-1785).  A  Dissertation.  Cr.  Rev.,  July,  1764, 
18:10-16.  A  Letter  to  the  Rev.  Dr.  Thomas  Leland.  In  which  (his)  Principles  of 
Eloquence  arc  criticised.     Cr.  Rev.,  Nov.,  1764,  18:321-331. 


200  THE    MILTOX    TRADITION  [292 

school.  It  only  remains  to  be  shown  that  the  interest  in  blank  verse 
during  tiiis  period  was  no  less  decisively  in  favor  of  popular  acceptance 
and  advancement. 

Verse  criticism,  during  this  period,  presented  two  rather  distinct 
lines  of  discussion,  both  of  which  involved  the  metrical  qualities  of 
IVIiltou.  The  one  approached  ver.se  from  tlie  structural  standpoint,  and 
concerned  itself  mainly  with  the  laws  that  governed  the  making  of 
"good  ver.ses."  The  other  approached  the  subject  from  the  standpoint 
of  poetic  effect,  and  concerned  itself  mainly  with  the  problems  of  how 
best  effects  may  be  obtained.  This  is  about  the  same  as  saying  that  one 
class  of  critics  measured  excellence  by  regard  to  poetic  form ;  the  other, 
by  regard  to  poetic  contents  and  effects. 

The  former  of  these  classes  of  critics  contended  mainly  for  that  kind 
of  poetic  excellence  that  was  begun  by  Deuham  and  Waller,  improved 
by  Dryden,  and  perfected  by  Pope.  Probably  "'the  sovereignty  of  the 
couplet  was  doomed"  by  1726;'-*  but  the  force  of  its  authority  was  loug 
felt  in  the  criticism  which  it  inspired.  True  to  the  spirit  of  the  pseudo- 
cla.ssical  school,  this  class  of  critics  began  by  laying  down  a  priori  defi- 
nitions of  what  poetry,  or  verse,  should  be.  They  had  no  serious  thought 
of  any  historical  appeal  for  their  conceptions,  which  were  merely  pre- 
conceived notions  with  only  a  measure  of  trutli  in  them.  Verse  was 
this,  or  that,  or  something  else,  which  meant  usually  that  it  was  regular 
matliematieal  heroic  measure,  heightened  into  poetry  by  some  special 
quality,  as  tlie  affinit}'  of  the  line  with  musical  qualities.  To  these  arbi- 
trar3'  conceptions  all  verse  nmst  conform,  or  else  it  was  bad.  Every- 
where tlie  structural  basis  of  poetry  was  regiilai'ity.  Tliis,  at  least,  is 
the  ca.se  in  the  beginning  of  tliis  jx'riod.  l>nt  this  structural  basis  is 
broadened,  by  recognition  of  poetic  facts,  until  the  two  lines  of  criticism 
begin  to  meet  in  such  critics  as  Kames  and  Webb  (1762).  It  was  this 
constant  coming  together  of  the  two  views  that  gave  special  significance 
to  blaidv  ver.se  as  the  poetical  vehicle  of  Romanticism. 

To  these  formalists  in  the  beginning  of  this  period,  belonged  the 
work  of  "slashing. Bcntley,"  who  murdered  Milton  in  the  person  of  a 
fabulous  E<iitor.  Only  less  barbarous  was  that  criticism  of  Milton 
whi(!h  arose  upon  the  ajipearaiiee  of  Glover's  Lronidas  (1737).  This 
poem  was  in  l)lank  verse,  but  Tiionotonously  "regular."  Herein  lay  its 
excellence,  as  then  viewed  by  some  critics.  An  "old  man,"  who  placed 
his  Homer  next  his  Bible,  and  Virgil  and  Milton  next  his  Homer,  con- 
tril)uted  a  i)api'r  in  praise  of  Lriioidas.  Fir.st  of  all,  he  was  "surprised" 
tliat  he  could  uMihTstand  the  language  of  the  ])oem,  "which,  for  a 
writer  of  blank  vcr.se,  is  a  very  unnsmd  condescension  to  his  readers." 
But,   more   to  the   point  here,   he   declared   the   versification   of  (Mover 

'-'Pliclp.s,  Thr  n,'';i'""i'"',if    .*'  ilic  Eitg.  Rom.  Movement,  p.  ,30. 


293J  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  201 

superior  to  that  of  Milton — a  statement  for  which  Nathan  Drake 
expressed  his  contempt  by  the  addition  of  an  exclamation  point. ^-'^ 

But  a  more  considerable  contribution  was  that  of  Dr.  Henry  Pem- 
berton  (1694-1771),  entitled  Observations  on  Poetry,  especially  Epic, 
Occasioned  by  Leonidas  (1738).  He  was  possessed  with  the  same  spirit 
of  formal  excellence,  fancied  that  he  knew,  ipse  dixit,  just  what  poetry 
ought  to  be ;  and,  because  Paradise  Lost  was  not  that,  it  must  be  con- 
demned. This  criticism  gave  rise  in  the  same  year  to  the  popular  papers 
by  Samuel  Say  (1676-1743),  published  posthumously  by  William  Dun- 
combe  (1745),  in  defence  of  Milton.  Witli  The  Poems  of  Say,  there 
were  "Two  Critical  Essays,"  the  first  ou  Rhythm  in  General,  and  the 
second  on  the  Rhythm  of  Paradise  Lost.  He  turned  to  ridicule  the 
criticisms  of  Bentley,  and  defended  the  variety  and  freedom  of  Milton 
as  an  excellence,  in  reply  to  the  strictures  of  the  "Leonidas  group." 
The  preceding  year  (1744),  James  Harris  (1709-1780)  insisted  that 
poetry  had  a  charm,  "arising  from  its  numbers  only."  This  he  illus- 
trated from  Paradise  Lost,  where  he  found  also  the  "few  pure  iambics 
of  the  syllabic  sort"  in  the  English  language.  He  also  praised  the  Com- 
panion Poems,  and  regarded  Milton  as  the  highest  object  of  esthetic 
enjoyment,  calling  for  culture  and  critical  powers.'-" 

A  disciple  of  Pemberton,  who  became  greater  than  his  master,  was 
John  Mason  (1706-1763),  who  published  his  Essays  on  the  Poivcr  and 
Harmony  of  Nionbers  in  1749  (2nd.  edition  in  1761).  He  was  inter- 
ested in  the  miisical  values  of  verse,  and  admitted  some  vax'iations  in 
deference  to  Milton,  whom  he  regarded  as  a  "great  master  of  poetic 
numbers,"  but  "not  without  his  faults."  But  even  this  measure  of 
liberality  was  tabooed  by  Dr.  Johnson,  who  insisted  that  the  rigid  regu- 
larit.y  of  "our  versification  admits  of  few  licenses."'-' 

These  dictatorial  critics,  whose  orthodoxy  in  verse  had  no  support 
in  historical  fact,  could  not  long  hold  a  position  of  authority,  when  the 
tendency  of  the  times  demanded  such  support.  The  formal  recognition 
of  this  fact  appeared  in  Lord  Kames,  who  produced  his  Elements  of 
Criticism  in  1762.  With  him,  the  structural  foundation  of  English 
verse  was  regularity.  The  time  element  was  also  observed  in  versifica- 
tion. The  essential  difference  between  verse  and  prose  was  the  degree 
of  perfection  involved  and  the  observation  of  "certain  inflexible  laws." 
He  praised  Pope,  especially  in  his  Rape  of  the  Lock,  for  perfection  of 

^-^On  The  Leonidas  of  Glover.  Common  Sense,  April  g,  1737.  See  Drake's 
Gleaner  (1811).    No.  36.    Vol.  I,  293-305. 

^^^Three  Treatises  (1744).  Chap.  v.  Cf.  also  The  Works  (1841),  pp.  403, 
4",  453. 

^-''Dict.  of  the  Eng.  Language  (i7SS).  Historical  Introduction.  Section  on 
Prosodv. 


202  THE    MILTOX    TRADITION  [294 

Versification.  But  all  these  elements  of  regularity  are  rather  takeu  for 
granted  as  the  fundamental  basis  of  verse.  Karnes  formally  announced 
in  his  Introduction  that  this  work  was  to  be  indiietive.  He  did  not 
dictate  what  poetry  should  be,  but  appealed  to  history  to  see  what 
poetry  really  is.  This  appeal  brought  him  into  contact  with  the  masters. 
His  weakness  appeared  in  pronouueing  Shakespeai'e  ' '  a  sort  of  measured 
prose ; ' '  his  redemption  was  in  praising  Milton 's  ' '  richest  melody ' '  and 
"subliinest  sentiments."  His  real  significanee,  however,  was  in  his  mak- 
ing the  basic  regularity  of  poetry  bow  in  service  to  the  demands  of 
sentiment.  This  enthroning  of  substance  above  form  led  him  to  assign 
several  reasons,  which  a  contemporary  critic  regarded  unanswerable, 
"why  blank  verse  is  preferable  to  rhyme,  where  force  and  elevation  of 
language  is  requisite."'-*  Content  then  is  the  deternnniug  factor  in 
poetry.  Verse  form  is  a  means  and  not  an  end ;  and  greatness  of  poetry 
depends  upon  the  greatness  of  mind,  the  exaltation  of  soul,  the  loftiness 
of  the  message  that  the  verse  brings  to  men.  In  this  general  view,  it 
will  be  seen  that  Kames  was  secondetl  by  Webb:  and  the  two  constitute 
a  land-slide  from  regularity  to  tlic  side  of  Milton,  liberality,  and  blank 
verse. 

The  otlicr  line  of  criticism  was  followed  by  those  who  continued 
from  the  earlier  period  to  champion  the  cause  of  blank  ver.se  directly  in 
opposition  to  the  couplet.  This  provoked  some  overbold  assertion  of 
confidence  on  the  part  of  the  formalists  (Trib.  58),  but  the  liberal  ranks 
of  blank  verse  M'ere  constantly  recruited,  and  the  movement  increased 
rapidly  in  strength  during  this  period. 

Tile  essential  difi'erenee  in  the  two  schools  may  be  stated  in  various 
terms  of  antagonism,  according  to  the  point  of  view.  It  was  blank  verse 
versus  heroic  couplet,  reason  versus  imagination,  Milton  versus  Pope, 
authority  versus  individualism,  arbitrary  dictum  versus  historical  facts, 
form  versus  content,  jirogress  versus  conservatism,  dawn  versus  twi- 
light, liberty  versus  sluickles,  and  so  on  inexhaustibly.  But  all  of  this 
means  that  the  nation  was  weary  of  the  worn  out  monotony  of  the 
couplet,  and  wanted  a  new.  libei-al.  and  hopeful  medium  of  poetic 
expression. 

This  was  the  i)eriod  when  tlie  serious  battle  was  fought  and  won, 
though  there  were  later  attacks  from  the  defeated  ranks  of  the  couplet. 
The  blank  ver.se  poems  of  Philips  and  Tliomson  eoiitiniu'd  to  be  ])opular. 
!Mncii  strength  was  added  to  tlie  cause  of  liberal  versification  in  the 
popular  blank  verse  productions  of  Warton,   Blaii-,   ^'oung,  and  others, 

'-'"Henry  Home  (1696-1782),  Lt>r<l  Kames.  Jilciiit'iits  of  Criticisiii.  Intro- 
duction, and  Chapter  xviii  on  "Beanty  of  Language."  Many  other  chapters  have 
matter  on  Milton,     See  also  the  Mo.  Rev.  July,  i;6j,  2y.]yj4. 


I 


295]  CONTROVERSIES     AND     EXPLANATIONS,     1730-1765  203 

in  1740-1750.     By  1744  a  poetical  wit  was  telling  the  secrets  of  Par- 
nassus, how. 

With  jingling  Rhimes  together  tied, 

A  Shameful  Dearth  of  Sense  we  liide.     (Trib.  72.) 

Everywhere  the  advocates  of  blank  verse  laid  increasing  emphasis 
upon  content  as  opposed  to  mere  poetic  form :  the  imaginative  appeal 
and  poetic  spirit  were  held  essential.  Aaron  Hill's  Advice  to  the  Poets 
"was  published,  and  reviewed  at  length  in  1754.  Among  other  things, 
the  Review  quoted  the  following  significant  Motto  of  the  poem: 

Shame  on  your  jugling,  ye  soft  sons  of  rhyme, 
Tuneful  consumers  of  your  readers'  time! 
Fancy's  light  dwarfs !  whose  feather-footed  strains. 
Dance  in  wild  windings,  through  a  waste  of  brains : 
Your's  is  the  guilt  of  all,  who  judging  wrong, 
Mistake  tun'd  nonsense  for  the  poet's  song.^-^ 

The  substance  of  the  song  as  the  determining  factor  received  no 
little  emphasis  from  the  pen  of  John  Byrom  (1692-1763).  In  his 
Thought  on  Rhyme  and  Blank  Verse  (1755),  he  seemed  at  first  to  favor 
rhyme,  attributing  the  "craze"  for  blank  verse  to  the  study  of  Homer, 
Virgil,   Hoi'ace  and  plays.     But  he  came  to  the  final   conclusion  that 

'Tis  the  subject,  in  fine,  in  the  matter  of  song. 

That  makes  a  blank  verse,  or  a  rhyme  to  be  wrong.'^" 

The  Contest  (1755),  which  contained  a  preface  in  favor  of  blank 
verse,  illustrated  with  an  original  Ode  by  Roger  Comberback,  and  a 
defence  of  Rhjane,  supported  by  an  Eclogue  by  Dr.  John  Byrom,  pro- 
voked the  same  general  sentiment  from  the  Monthly  Review.  The  critic 
conceded  that  "rhyme  may  be,  and  often  is,  without  poetry,  as  jjoetry 
may  be  without  rhyme."  He  felt,  however,  that  rhyme  belonged  to  the 
genius  of  the  English  Language,  and  being  more  difficult,  was  a  better 
test  of  poetical  ability.'*'     That  rhyme  was  felt  to  be  the  medium  for 

i=^Mo.  Rev.,  Jan.,  1754,  10:16-30. 

i^^Chalmers,  Eng.  Poets,  15:206-207. 

"iMo.  Rev.,  Aug.,  1755,  13:95-99- 

This  critic  attributed  the  charms  of  Shakespeare  and  Milton  to  "the  animated 
beauty  of  their  descriptions,  and  that  justness  and  elevation  of  their  sentiments, 
which  feast  the  imagination,  and  possess  the  judgment  so  completely,  that  the 
absence  of  this  organic  gratification  is  scarcely  adverted  to." 


204  THE    MILTON    TRADITION  [296 

expressing  trivial  content,  is  qnite  evident  in  the  following  taunt : 

Beaumont  and  Fletcher : [great] 

Till  fashion  drove,  in  a  refining  age, 

Virtue  from  the  court,  and  nature  from  the  stage. 

Then  nonsense,  in  heroics,  seem'd  sublime ; 

Kings  rav'd  in  couplets,  and  maids  sigh'd  in  rhyme.^^'- 

Perhaps  the  most  effective  attempt  to  enthrone  blank  verse  over  the 
conplet  was  made  in  Wartou's  Essay  upon  Pope  (1756),  already  consid- 
ered in  this  chapter.  Warton  was  thoroughly  imbued  with  Romantic 
tendencies,  and  applauded  the  freer  mode  far  above  that  which  shackled 
the  imaginative  element  in  verse.  The  next  year  (1757),  Thomas  New- 
comb  rendered  Hervey's  Contemplations  on  A  Flower-Garden  into 
blank  verse,  and  was  censured  for  leaving  remnants  of  rhj-me,  "which 
show  always  a  bad  effect  in  blank  verse.  "'^'  in  the  same  year,  Robert 
Colvill  (d.  1788)  argued  that  blank  verse  was  "suited  to  every  species 
of  composition,  from  the  highest  sublime  down  to  very  chit-chat,"  and 
gave  an  example  of  the  latter  extreme  (Trib.  117).  But  a  Reviewer  of 
Gray"s  Odes  (1757)  stoutly  contended  that  experiments  showed  the 
necessity  of  rhyme  in  English  Odes."^ 

Few  men  spoke  more  distinctly  on  this  subject  than  Dr.  Edward 
Young  (1683-1765),  in  his  Conjectures  on  Original  Composition  (1758). 
No  one,  perhaps,  was  in  position  to  speak  with  more  authority.  Being 
older  than  Pope,  Dr.  Young  had  seen  the  school  of  the  couplets  rise, 
reacli  its  liigliest  jioiiit,  and  then  decay.  lie  was  a  student  of  liis  times, 
who  marched  in  the  front  ranks  of  progress.  He  luul  attaineil  some 
distinction  in  the  pseudo-classical  school,  as  a  poet,  and  deserted  that 
school  only  to  attain  higher  poetic  honours  in  the  Romantic  school. 
These  Conjectures  were  designed  to  foster  the  forward  movement.  In- 
cidentally he  disetissed  the  typical  modes  of  poetic  expression.  As  a 
scholar,  lie  spoke  the  mature  conviction  of  careful  observation.  As  a 
poet,  he  infused  into  his  words  the  conviction  of  broad  experience.  His 
pronounceineiit  may  be  regarded,  therefore,  as  the  pivot  on  which  the 
Century  swung  around  in  respect  to  versification  in  favor  of  tlie  Ro- 
mantic freedom  of  blank  verse.  Heueeforth  the  couplet  was  on  the 
defensive ;  while  the  triumphant  Romanticists  cabnly  conceded  certain 
real,  but  inferior,  merits  to  the  restraints  of  rhyme. 

Dr.  Young  happily  brought  the  full  force  of  the  Romantic  argu- 
ments into  play  by  choosing  to  make  his  attack  directly  upon  Pope's 

'32Gcorgc  Colman  (1732-1794).  Prologue  to  PhiUisicr.  Upon  Powell's  first 
appearance  at  Drury  Lane,  Oct.  8,  1763.  Bell's  Bril.  Thei'tre.  <•(/.  1^97,  vol.  18,  pp. 
xiii-xiv.    For  emphasis  upon  content,  see  Trib.  13.4. 

>''Cr.  Rev.,  July.  1757,  4:67. 

'■■^Mo.  Rev.,  Sept.,  1757,  17:239-243. 


297]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  205 

Translation  of  the  Iliad.    Speaking  of  that  performance,  Young  said: 

"Had  Milton  never  wrote,  Pope  would  have  been  less  to  blame ;  but  when  in 
Milton's  genius,  Homer,  as  it  were,  personally  rose  to  forbid  Britons  doing  him 
that  ignoble  wrong,  it  is  less  pardonable,  by  that  effeminate  decoration,  to  put 
Achilles  in  petticoats  a  second  time.  How  much  nobler  had  it  been,  if  his  numbers 
had  rolled  on  in  full  flow,  thro'  the  various  modulations  of  masculine  melody, 
into  those  grandeurs  of  solemn  sound  which  are  indispensably  demanded  by  the 
native  dignity  of  heroic  song !  How  much  nobler  if  he  had  resisted  the  tempta- 
tions of  that  Gothic  demon  which  modern  poesy,  tasting,  became  mortal ! 

Harmony,  as  well  as  eloquence,  is  essential  to  poesy ;  and  a  murder  of  his  music 
is  putting  half  Homer  to  death.  'Blank'  is  a  term  of  diminution;  what  we  mean 
by  'blank  verse'  is  verse,  un  fallen,  uncursed ;  verse  reclaimed,  reinthroned  in  the 
true  language  of  Gods ;  who  never  thundered,  nor  suffered  their  Homer  to  thunder, 
in  rhyme."  Again,  speaking  of  Dryden,  he  says,  "The  demonstration  of  his  no- 
taste  for  the  buskin  are  his  tragedies  fringed  with  rhyme ;  which  in  epic  poetry 
is  a  sore  disease,  in  the  tragic  absolute  death.  To  Dryden's  enormity.  Pope's  was 
a  slight  offence  .  .  .  "Must  rhyme.'  then  you  say,  'be  banished?'  I  wish  the  nature 
of  our  language  could  bear  its  entire  expulsion ;  but  our  lesser  poetry  stands  in 
need  of  a  toleration  for  it ;  it  raises  that,  but  sinks  the  great ;  as  Spangles  adorn 
children,  but  expose  men."'^° 

The  immediate  effects  of  this  bold  stand  on  the  part  of  the  most 
popular  living  poet  were  evident  in  the  spirit  of  quiescence  on  the  one 
hand,  and  of  confidence  on  the  other,  that  henceforth  prevailed.  In 
May  of  that  year  (1758)  a  Reviewer  of  Armstrong's  Sketches  held  that 
transpositions  were  in  harmony  with  the  English  language,  and  "that 
all  our  best  English  poems  may  be  reduced  to  some  standard  of  antient 
measure,  especially  the  poem  Peiradise  Lost}'"  In  December  a  liigh 
claim  was  made  for  blank  verse  excellence  in  didactic  poetry,  when 
another  critic  was  "surprised"  that  Dr.  William  Kenrick  (1725-1779), 
in  his  Epistles,  Philosophical  and  Moral,  written  in  octosyllabics,  "should 
have  confined  himself  to  the  fetters  of  rhyme,  an  attention  to  which 
must  of  necessity  cramp  expression,  and  sometimes  render  the  author's 
meaning  obscure  and  ambiguous.  "'^''' 

Gray  showed  an  interest  in  this  question  of  verse  freedom,  not 
unfavorable  to  advancement — "Gray  disliked  Akenside,  and  in  general 
all  poetry  in  blank  verse,  except  Paradise  Lost."  But  Gray  was  im- 
pressed with  the  spirit  of  liberal  versification  in  Milton's  earlier  rhymed 
verse,  and  felt  that  England   owed  her  deliverance   from  the  modern 

^^^Conjectures,  565,  574.     Quoted  by  Phelps,  Beginnings  of  Romanticism,  43-44. 
i^'Launcelot   Temple    (John   Armstrong,    1709-1779),   Sketches,   or  Essays   on 
Various  Subjects.    London,  iy_HS.    Cr.  Rev.,  May,  1758,  5:380-386. 
i"Cr.  Rev..  Dec,  1758,  6:439-453. 


206  THE    MILTON    TRADITION  [298 

fetters,  to  the  iufluence  of  Speuser  aud  I\Iilton"s  Paradise  Lost?^^  Gold- 
smith, who  was  never  consistent  in  an.vthinfr.  deplored  the  modern  vogue 
of  blank  verse  (1759),  left  rhyme  out  of  his  definition  of  poetry  (1760), 
decried  all  modern  verse  (1770),  and  himself  wrote  in  endless  couplets."' 
Samuel  Bishop  (1731-1795),  in  his  Epigrams  (ecviii),  rather  pithily 
questioned, 

If  rhyme,  or  blank  verse,  in  our  day. 
Serves  Poetry's  purpose  worst! 

The  Monthly  Review  defended  "The  dignity  of  blank  verse,"  and 
declared  the  mode  potentially  popular.  "The  easy  harmony  of  lyric 
poetry,"  it  was  claimed,  "is  not  more  readily  caught  by  the  unbraced 
ear  of  age,  than  the  swelling  grandeur  of  Miltonic  numbers."'*"  The 
historical  appeal  was  pronounced  in  the  antiquarian  mind  of  Bishop 
Percy  (1729-1811),  who,  while  editing  the  Forms  of  Surrcii  (1763), 
gave  specimens  of  all  blank  verse  before  Milton. 

The  influence  of  such  claims  and  such  ajipeal  at  .just  this  point 
cannot  be  overestimated.  Gradually  the  spirit  of  the  times  had  risen 
to  the  consummate  statement  of  Dr.  Young.  Tlie  venerable  Doctor  had 
used  Milton's  excellence  as  a  means  of  exi)osing  Pope's  weakness  in 
dealing  with  the  Ancients,  had  bi'anded  the  French  iiniovations  of  the 
Restoration  even  in  the  hands  of  Dryden  as  monstrous,  and  had  as- 
signed rhyme  to  the  sphere  of  small  poetry.  Here  it  was  claimed  that 
blank  verse  was  essentially  the  possession  of  the  people ;  and  Percy 
showed  in  his  collected  specimens  that  it  was  a  part  of  their  national 
tradition,  which  was  felt  to  bring  them  nearest  to  the  glory  of  the 
Ancients.  As  all  that  was  essentially  English  must  have  thrilled  secretly 
upon  the  appearance  of  Paradise  Lost  in  the  old  form  of  native  excel- 
lence, so  all  here  must  have  openly  rejoiced  at  these  advances  as  the 
ffFectual  emancipation  of  the  Nation  from  the  foreign  and  barbarous 
bondage  of  rhyming. 

The  force  of  Dr.  Young's  position  appeared  plainly  in  the  Elements 
of  Criticism.  (1762),  by  Lord  Karnes,  already  considered.  It  was  even 
stronger  in  the  Remarks  on  the  Beauties  of  Portrij,  by  Daniel  Webb 
(1719-1798),  published  in  the  same  year,  and  in  his  Observations  on  the 
Correspondence  between  Poetry  and  Music  (1769).    lie  was,  like  Kames, 

'•■"Gray,  To  Richard  West  (1742),  ed.  Gosse  (18&4).  H,  108;  The  Works 
(1884),  II,  164,  quoted  from  Mitford's  Ed.  (1816)  ;  Obs.  on  Eng.  Metre  (1760-1). 
Works,  I,  332-333,  335- 

^^^Preseiit  State  of  Polite  Learning  (1759).  Chapter  x.  Murray  cd.,  II,  52. 
Citizen  of  the  World  (1760),  Letter  40.  Dedication  to  The  Traveller  (1765). 
Murray,  I,  1-4,     The  Life  of  Parnell,  III,  126-145.    Note  112  above. 

'^'Criticism  of  l\'esi<ination,  in  T'vo  Parts,  &-c.    Mo.  Rev.,  June,  1762,  26:462flf. 


299]  CONTROVERSIES     AND    EXPLANATIONS,     1730-1765  207 

a  believer  in  regularity  as  the  formal  basis  of  verse ;  but  even  more  than 
Kames,  Webb  held  that  regularity  must  bow  to  the  needs  of  content  and 
expression. 

Webb's  Remarks,  which  are  said  to  be  "both  judicious  and  ingenious,"  are 
very  important  in  tliis  connection.  His  criticism  is  introduced  in  the  form  of  a 
dialogue  between  Rhyme  and  Blank  Verse.  His  evident  object  is  to  exalt  the 
merits  of  blank  verse,  and  to  expose  the  defects  of  rhyme.  The  latter,  for  want 
of  liberality,  he  declared  deficient  for  nature,  truth,  and  music.  He  argued  that 
the  couplet  is  incapable  of  such  a  variety  in  its  harmony  as  Blank  Verse ;  but 
poets  of  an  ordinary  genius  should  never  give  it  up.  "Yet  let  not  bards  of  sub- 
lime powers  sacrifice  their  noble  fire  to  an  empty  jingle.  Let  them  unfold  their 
lofty  images  in  a  continued  strain  of  unlimited  harmony,  and  in  a  superior  majesty 
of  Miltonic  numbers."  The  couplet  was  held  to  tame  enthusiasm,  and  to  compel 
littleness  of  scenery.  But  Blank  Verse  admitted  great  force  and  variety,  and 
allowed  a  better  expression  of  passions. 

Webb  "agrees  with  all  men  of  taste  and  judgment,"  according  to  the  Critical 
Reviezsj,  "to  prefer"  blank  verse  to  rhyme.  He  held  that  "rhyme  is  not  formed  for 
those  fine  gradations  which  blank  verse  is  capable  of."  The  freer  mode  was 
claimed  to  give  (l)  more  dignified  expressions  of  the  suliject;  (2)  greater  variety 
of  pause;  (3)  more  variety  of  harmony,  affording  less  leveling  and  more  exalting 
effects,  better  breaks  and  transitions,  better  changes  of  passion,  and  both  verbal 
and  sentimental  harmony,  by  the  last  meaning  agreement  between  the  sound  or 
movement  and  the  sense. 

The  following  criticism  of  Addison,  heartily  seconded  by  the  Critical  Review, 
was  directed  at  the  weakness  of  the  couplet,  ".\ccustomed  as  he  was  to  the  secure 
monotony  of  the  couplet,  he  had  neither  the  genius  to  bear  him  through,  nor  the 
courage  to  attempt  the  unbounded  variety  of  the  Miltonic  measures."  He  com- 
pared Addison  to  a  weak  bird  of  a  straight  flight,  and  Milton  to  "the  eagle,  won- 
derful in  his  soarings,  (who)   shows  in  his  very  stoops  the  power  of  his  wings."'*' 

This  author  started  with  regularity  as  the  basis  of  versification,  but 
discussed  the  qualities  of  verse  in  terms  of  the  Romantic  spirit,  exalted 
blank  verse  above  the  couplet,  and  identified  the  freer  form  with  the 
advanced  movement.  Blank  verse  was  lield  to  be  not  only  the  form 
most  proper  to  the  sublime,  but  also  to  the  natural,  the  liberal,  to  enthu- 
siasm, and  to  the  passions.  These  views  were  asserted  with  the  full  con- 
fidence of  popular  support.  The  Monthly  Review,  not  usually  very 
sympathetic  with  blank  verse,  devoted  sixteen  pages  to  Webb's  publica- 
tion. This  immediate  interest  was  sanctioned  by  the  later  popularity 
of  the  work,  which  appeared  in  several  editions.     The  Critical  Review 

declared  that  this  "elegant  performance has  a  great  deal  of 

merit,  without  any  fault  but  that  of  a  fine  day  in  autumn,  of  being  too 
short." 

With  the  acceptance  of  this  work,  one  may  regard  the  triumph  of 

i*'Mo.  Rev.,  April,  1762,  26:282-298.    Cr.  Rev.,  May,  1762,  13:401-405. 


208  THE    MILTON    TRADITION  [300 

blank  verse  complete,  though  the  couplet  was  destined  to  one  more 
death-struggle  for  existence.  This  period  of  commentaries  and  contro- 
versies has  made  Milton's  substance  the  nation's  possession,  and  his 
verse-form  the  nation's  poetic  voice.  There  this  chapter  leaves  him  in 
his  popular  supremacy. 


CHAPTER   VII 

The  Romantic  Application  of  Milton,  1765-1801 

The  former  period  having  in  large  measure  explained  Milton's 
Paradise  Lost  and  popularized  his  Prose,  and  introduced  his  Minor 
Poems  into  familiarity,  this  period  undertook  the  Romantic  application 
of  those  materials.  By  this  is  meant  mainly  that  Milton's  influence 
flows  full  into  the  main  curreuts  of  this  great  life  movement  of  the 
Eighteenth  Century.  For  a  hundred  years  his  lofty  utterances  had 
gradually  wrought  themselves  into  the  fibre  of  English,  and  even  Conti- 
nental, life.  Already  their  molding,  directing,  productive  power  had 
been  felt.  But  during  this  period  they  came  to  their  own  in  the  richest 
fruitage  of  the  Romantic  Movement.  A  new  day  had  dawned  upon  the 
world,  a  day  of  larger  human  sympathies,  of  better  and  brighter  hopes; 
and  the  Romantic  forces,  with  Milton  much  in  the  lead,  were  showing 
their  right  to  occupy  the  new  day. 

Tlie  Prosr  Works  and  Paradise  Lost  showed  multiplied  points  of 
contact  with  the  new  movement,  as  will  appear  subsequently  in  this 
chapter.  But  the  Minor  Poems  were  narrowed  largely  to  the  limited 
sphere  of  poetic  imitation,  within  which  sphere  their  influence  was  Ro- 
mantic, and  not  unimportant.  Considerable  critical  attention  was  given 
to  these  poems  during  the  last  quarter  of  the  century,  but  this  attention 
was  more  in  the  nature  of  scholarly  research,  than  of  Romantic  emphasis. 

Samson  Agonistes,  which  had  been  popular  as  an  Oratorio  in  the 
preceding  period,  was,  in  this  period,  relegated  to  the  scholar's  closet. 
Dr.  James  Beattie,  in  a  foot-note  to  his  Essay  on  Truth  (1770),  com- 
mended Samson  as  a  new  type  of  heroic  character  not  in  Homer,  and 
the  conception  of  Delilah  as  the  perfection  of  "an  alluring,  insinuating, 
worthless  woman."'  Perhaps  this  very  note  led  Dr.  Johnson  (1779)  to 
censure  this  Tragedy  for  revealing  a  want  of  knowledge  in  human 
nature  in  the  "shades  of  character"  and  in  "the  combination  of  con- 
curring or  the  perplexity  of  contending  passions."-     Richard  Cumber- 

'James  Beattie,  LL.D.  (1735-1803).    An  Essay  on  Truth  (1776).     II,  9211, 
-Johnson,  Life  of  Milton    (Hill).     I,   188-190.     He   reiterated  the  criticism  of 
1751    (p.  171),  allowing  the  Tragedy  to  have  "many  particular  beauties,  many  just 
sentiments  and  striking  lines:  but  it  wants  that  power  of  attracting  attention  which 
a  well-connected  plan  produces." 

209 


210  THE    MILTON    TRADITION  [302 

land  (1732-1811)  in  1786,^  and  Sir  John  Hawkins  (1719-1789)  in  1787,* 
undertook  to  defend  Milton  against  these  strictures  of  Johnson,  "but 
with  little  success,"  according  to  the  Monthly  Review. 

The  Tragedy  was  translated  into  Greek  (1788)  by  George  Henry 
Glasse  (d.  1809^,^  and  an  abridgement  of  it  for  the  stage  was  attempted 
by  John  Penn  ten  years  later."  In  1790,  the  drama  was  closeted  along 
with  Glover's  Medea  and  Mason's  Elfrida  and  Caractacus.'  This  con- 
viction of  the  closet  qualities  of  the  play  was  emphatic  in  the  mind  of 
Thomas  Green,  who  pronounced  Samson  "a  noble  poem,  but  a  miserable 
drama."'  Thus  Samson  as  a  Tragedy  passed  through  the  Classical  and 
Bomantic  movements  of  the  Eighteentli  Century  witli  little  more  than 
the  perfunctory  attention  of  scholarly  criticism. 

The  earlier  Poems  of  Milton  continued  to  be  widely  imitated,  the 
Sonnet  revival  was  a  distinct  product  of  their  influence,  the  Latin  and 
Italian  poems  came  into  prominence,  as  already  noticed  in  chapter  II, 
and  the  other  more  important  poems  of  the  group  attracted  considerable 
attention  on  the  part  of  scholarly  research. 

The  Monthly  Review  (1766)  regarded  it  a  "dangerous  thing  to 
attempt  to  translate  the  Companion  Poems,  whose  merit  in  no  small 
degree  d<'pends  upon  a  felicity  of  expression.""  The  next  year,  Gold- 
smith felt  that  the  irregular  measure  of  tlieir  introductions,  "borrowed 
from  the  Italian — hurts  an  English  ear.'""  After  these  commonplaces 
it  is  refreshing  to  meet  with  a  letter  of  Sir  William  Jones  (1745-1794) 
To  Lady  Spencer  (1769)  giving  a  Description  of  Milton's  Residence  at 
Forest  Hill,  three  miles  from  Oxford,  where  Milton  wrote  tlie  Com- 
panion Poems. 

^Obseri'er,  No.  76.  Brit.  Essayists,  iS>3.  33:  No.  76;  1827,  27:1-6.  Cf.  Mo. 
Rev.,  May,  1789.  80:410-414. 

*The  IVorks  of  Saviud  Johnson.  LL.D.  (1787).     Mo.  Rev.,  July,  1787,  77:67-68. 

''This  was  a  Greek-Latin  edition,  Oxford  {1788),  London  (1789).  It  received 
an  extensive  review,  concerned  mainly  with  the  fidelity  and  adequacy  of  the  Trans- 
lation.    Mo.  Rev.,  81:1-19,  97-111,  241-256. 

K'ritical,  Poetical  and  Dramatic  Works,  2  vols.  Elmsby.  1798.  Vol.  II.  Mo. 
Rev.,  May,  1798,  107(26)  :68-7i  ;  Cr.  Rev.,  Dec.  1798,  n.  s.  24:475-76. 

'F.  Saycr,s,  Dramatic  Sketches  of  the  Ancient  Northern  Mythology,  .fto.,  I>p. 
122.  Johnson,  London,  1790.  Evidently  connected  with  the  Romantic  revival,  but 
they  were  declared  to  be  a  sort  of  closet  dramas,  after  the  ni:inncr  of  Milton's 
Samson,  &c.,  with  "several  attempts  at  innovation." 

'Thos.  Green,  Extracts  from  the  Diary  of  a  I.over  of  Literature.  Under  March 
8th,  1799.  He  liked  Comus  better,  but  preferred  "the  Gothic  Architecture  of  Shake- 
speare." Lycidas,  for  want  of  Rcnuine  sorrow.  Green  regarded  "essentially  defect- 
ive as  a  Monody." 

•Mo.  Rev.,  Feb.,  1766,  34:166. 

^"Thr  Hearties  of  English  Poesy.  (1767,  1776.)  Cr.  Rev.,  June,  1767,  23:408- 
411.     ll'orks  (Murray,  1H54).     III.    436. 


303]  THE    ROMANTIC    APPLICATION    OF    MILTON,    1765-1801  211 

Perhaps  few  circumstances  combiue  more  lines  of  Miltonic  and 
Romantic  interests.  Jones  was  a  student  of  Milton's  Prose.  "He  pur- 
sued in  tlieory,  and  even  executed  in  practice,  the  plan  of  education 
projected  by  Milton ;  and  boasted,  that  witli  the  fortune  of  a  peasant, 
he  could  give  himself  the  education  of  a  prince."^'  At  the  age  of 
twenty-three  he  had  all  the  enthusiasm  of  an  ardent  Romanticist,  with 
the  instinct  of  the  pilgrim,  the  love  of  the  country,  and  a  veneration  for 
the  relics  of  the  past.  He  found  his  holiday  diversion  with  Milton's 
Minor  Poems.  He  had  on  this  occasion  visited  the  sacred  literary 
shrine,  consecrated  by  the  early  residence  and  labors  of  Milton.  There 
Jones  amused  himself  with  the  several  points  of  local  contact  with  the 
L' Allegro  and  II  Pensoroso.  There  he  lingered  fondly  about  the  ruins 
of  the  old  mansion  where  Milton  had  lived.  Solemn  thoughts  of  the 
great  poet  and  of  his  vast  meaning  to  the  English  world  came  into  this 
young  devotee's  mind.  "The  hawthorn  in  the  dale,"  and  the  nightin- 
gale groves  "most  musical,  most  melancholy,"  vanished  alike  from  his 
thoughts,  while  the  serious  Milton  took  full  possession  of  his  mind.  The 
young  enthusiast  resolved  to  "repair  this  venerable  mansion,  and  to 
make  a  festival  for  a  circle  of  friends,  in  honor  of  Milton,  the  most 
perfect  scholar,  as  well  as  the  sublimest  poet,  that  our  country  ever 
produced."'-  How  inevitable  the  transition!  How  patriotic  and  grate- 
ful the  spirit!  How  Romantic  the  sentiment!  That  was  indeed  the 
way  in  which  many  were  beginning  to  think  of  Milton. 

These  Companion  Poems  were  used  as  familiar  illustrative  ma- 
terials,'^ and  were  regarded,  along  with  Paradise  Lost,  as  an  essential 

i^Campbell,  Specimens  Brit.  Poets.     1819.     7  :205. 

^-To  Lady  Spencer,  Sept.  7,  1769.  C.  D.  Cleveland,  A  Coiitp.  of  Eng.  Lit., 
i86g.    698-700. 

'^At  least  three  writers  cited  these  poems  to  illustrate  "the  imitative  power  of 
articulate  sounds":  Jas.  Beattie  (Essay  on  Truth),  (ed.  1777,  II,  p.  308);  Geo. 
Campbell  (Philosophy  of  Rhetoric,  1776.  Cr.  Rev.,  42:184)  ;  Thos.  Twining  (Disser. 
on  Poetical  Imitation,  with  Aristotle's  Treatise  on  Poetry,  1789.  Cr.  Rev.,  68: 
358-366).  The  last  quoted  Comus  also,  and  Beattie  quoted  the  Comp.  Poems  nine 
times  for  various  purposes  in  his  Essay  on  Truth  (1770).  "Ten  well  adapted  lines 
from  //  Penseroso  of  Milton"  were  in  the  first  room  of  the  "Hermitage"  at  Hagley 
Park.  (Joseph  Heeley,  Letters  on  the  Beauties  of  Hagley,  Envil,  and  the  Lea- 
sowes,  Cr.  Rev.,  July,  1777,  44:37.)  Richardson  wrote  a  paper  {Mirror,  No.  24, 
April  17,  1779,  Brit.  Es.,  1823,  28:  No.  24),  To  Show  the  "Advantages  which  the 
Artist  in  the  fine  Arts  has  over  Nature  in  the  Assemblage  and  Arrangement  of 
Objects ;  exemplified  in  Milton's  Allegro  and  Penseroso."  The  artist  can  control 
the  selection  of  e.xternal  sensuous  objects  that  will  harmonize  with  the  internal 
feelings.  This  is  well  done  by  Milton.  Beattie  had  noticed  this  excellence  in  his 
Essay  on  Truth  (1770). 


212  THE    MILTON    THADITION  [304 

element  in  popular  education.'^  The  scholar's  interest  in  tlie  Jlinor 
Poems  became  prominent  in  1772,  and  continued  throughout  the  cen- 
tury. Comus  was  re-adapted  that  year,  by  George  Coleman,  into  a  sort 
of  interlude  that  was  fairly  pojuilar.  But  the  main  stimulus  to  the 
discussion  of  Milton's  minor  j)0('try  was  the  publication,  by  the  Rev. 
William  Thompson,  of  Thi    Works  of  Wm.  Browiir,   (ir)91-1643). 

Browaie's  Shepherd's  Pipe  (1614.  1620)  was  composed  of  seven 
Eclogues.  The  fourth  of  these,  a  lament  of  the  author  for  liis  deceased 
friend,  Thomas  jManwood,  was  supposed  to  liave  given  Milton  a  sugges- 
tion for  his  Ljicidas.  Browne  also  wrote  The  Inner  Tonple  ilasque, 
which  was  acted  Jan.  13,  1615,  but  never  printed  until  this  edition  in 
1772.  Thompson  commended  it  for  its  "Strong  and  lively  fancy"  and 
suggested  that  "Milton,  in  all  probability,  borrowed  the  idea  of  Comus 
from  this  excellent  })oem."  Tlie  ■"ijrobability "  was  generally  allowed; 
and  Thomas  Warton's  interest  in  the  suggestion  led  finally,  through 
various  stages  of  his  History,'"  and  Editions  of  Milton,  to  his  Aeeovnt 
of  the  Origin  of  Comus,  separately  printed  in  1799. 

At  the  risk  of  slightly  repeating  from  ("hai)ter  1\'.  the  criticism  of 
Johnson's  Life  of  Milton  (1779)  nmst  be  noticed  here,  for  it  was  the 
touchstone  of  almost  all  that  followed  in  the  century.  The  Doctor's 
view  of  Somson  Agonistes  has  already  appeared  in  this  chapter.  It  was 
adverse  to  Milton.  So  was  Jolinson"s  estimate  of  the  smaller  pieces  and 
the  Latin  verses  of  Milton.  Jolinson  did  allow  a  grudging  praise  to  the 
Companion  Poems,  and  an  ample  measure  of  applause  to  Paradise  Lost. 
But  he  poured  forth  his  utmost  bitterness  against  Comus  and  Lycidas. 
Comus  was  pronounced  the  greatest  of  the  Juvenile  performances.  Milton 
was  applauded  for  his  "power  of  description  and  his  vigour  of  sentiment,  employed 
in  the  praise  and  defence  of  virtue.     A  work  more  truly  poetical  is  rarely   found. 

'^Thc  Poetical  Miscellany,  printed  by  Becket  (1762),  for  use  in  schools,  began 
with  selections  from  Milton,  and  drew,  for  the  most  part,  from  poets  that  were 
Romantically  inclined.  The  editor  presumed  that  "any  sensible  and  unprejudiced 
parent  will  be  better  pleased  to  hear  his  son  repeat  50  lines  of  Milton,  &c.,  than 
SCO  lines  of  Ovid  or  Virgil."  This  work  was  commended  (Mo.  Rev.,  Nov.,  1762, 
27:390).  Poems  for  Young  Ladies  (1767)  formally  recommended  extracts  from 
P.  L.  for  girls ;  and  Cowper  thought  the  Conip.  Poems  and  the  Epic  a  good  thing 
for  boys.  (To  iriii.  ihm'in,  Jan,  17,  1782,)  The  Ret'iczi's  regarded  any  neglect  of 
Milton  as  little  less  than  stupid,  Cf,  Mrs,  Madan's  Progress  of  Poetry  (Cr.  Rev., 
Mar.,    1783,   55:231),   and  Jas.   Ihiriiis's   Tears  of  Affection    (1794).      (Mo.    Rev., 

96(15)  :3I4- 

'•■•Another  attempt  was  made  in  1786  to  find  the  source  of  Lycidas  in  Huchnn- 
an's  Desidrriiim  Lulctiac.    "T.  II,  VV,".  Gent.  Mag.,  Sept,,  1786,  56(2):mo-ii. 

'"Warton  also  went  at  some  length  into  the  similarities  of  Browne's  Mas(|iio 
and  Comus,  in  his  Hisl.  of  Eng.  Poetry  (1775),  Ila/litt  ed..  Ill,  .^i.  Cf,  also  ihc 
Cr.  Rev.,  Feb.,  1772,  33:118,  for  Thompson's  view. 


305]  THE   ROMANTIC    APPLICATION    OP    MILTON,    1765-1801  213 

As  a  series  of  lines  it  is  worthy  of  all  the  admiration  with  which  the  votaries  of 
Milton  have  received  it."  "As  a  drama,  it  is  deficient.  The  action  is  not  proba- 
ble." The  discourse  of  the  Spirit  was  thought  too  long.  The  Prologue  in  the 
woods  was  condemned,!'  The  soliloquies  of  Comus  and  the  Lady  were  considered 
elegant,  but  tedious.  The  whole  "wants  animation,  and  that  quality  which  allures 
attention."  It  is  "a  drama  in  the  epick  style,  inelegantly  splendid,  and  tediously  in- 
structive."    (Ed.  G.  B.  Hill,  I,  167-169. ■) 

Lycidas,  however,  had  no  preamble  of  praise  to  ameliorate  the  strokes  of  cen- 
sure. "The  diction  is  harsh,  the  rhyme  uncertain,  and  the  numbers  unpleasing.  What 
beauty  there  is  we  must  therefore  seek  in  the  sentiments  and  the  images.  It  is  not 
to  be  considered  as  the  effusion  of  real  passion;  for  passion  runs  not  after  remote 
allusions  and  obscure  opinions."  "In  this  poem  there  is  no  nature,  for  there  is  no 
truth ;  there  is  no  art,  for  there  is  nothing  new."  The  mixing  of  "sacred  truths" 
was  regarded  as  little  short  of  sacrilege.     (Ed.  Hill,  I,  163.) 

These  strictures,  together  with  the  sinister  reflection  upon  Milton's 
religion,  and  the  abuse  of  that  poet  for  his  political  views,  were  as  fire 
touched  to  the  Romantic  magazines.  The  explosion  was  immediate,  and 
measured  the  strength  of  Milton's  hold  upon  English  life  in  connection 
with  the  new  movement.  The  nation  that  had,  in  the  beginning  of  the 
Eighteenth  Century,  debated  Milton's  Epic,  doubted  his  religion,  hated 
his  prose,  and  ignored  his  Minor  Poems,  rose  in  reply  to  this  last  great 
voice  of  the  old  prejitdice,  and  defended  everything  that  was  Miltonic. 

These  friends  of  Milton  and  Romanticism  defended  Milton's  char- 
acter as  a  student,  and  found  his  religion,  which  needed  no  defence, 
reflected  in  the  Romantic  excellence  of  that  simple,  soulful  devotion  of 
the  first  Parents  in  Eden.  Loyally  they  exalted  Milton's  Latin  Verses 
above  those  of  Cowley,  and  even  pronounced  them  classic.  With  Ro- 
mantic zeal  and  patriotic  enthusiasm  they  championed  the  political 
principles  of  Milton,  and  espoused  the  cause  of  certain  Minor  Poems 
against  the  particular  strictures  of  the  Doctor's  pen.  But  comparatively 
few  cared  to  bring  the  exalted  Paradise  Lost  down  to  the  low  plane  of 
this  controversy.  Prom  the  standpoint  of  that  divine  performance, 
this  "most  industrious  cruelty"  of  Johnson  was  an  outrage,  if  not 
sacrilege  itself.'* 

Walpole  spoke  of  this  Life  of  Milton  witli  scorn ;  and  Archdeacon 
Blackburne  treated  the  doctor  with  no  small  measure  of  abuse.  J. 
Boerhadem  declared  it  "painful  to  liberal  mind  to  see  such  a  man,  and 
such  a  writer  as  Dr.  Johnston,  stooping  to  throw  the  dirt  of  party." 
He  charged   the  work  witli   "several  ill-natured  misrepresentations."" 

""Landor  felt  that  Johnson's  criticism  of  the  Prologue  was  unanswerable,  and 
that  the  general  criticism  was  sane.     (Imaginary  Conversations,  iv,  284.) 

"*Wm.  Cowper,  To  Wni.  Umvin,  Oct.  31,  1779.  Hayley's  Life  of  Cou'per,  i8i2. 
I.  215. 

''^Gent.  Mag..  Oct..  1779,  49:492-493. 


214  THE    MILTON    TRADITION  [306 

The  Rev.  Thomas  Twiuiug  cousidered  that  "Johusoiis  mind  is  fettered 
with  prejudice,  civil,  poetical,  political,  religious,  aiid  even  superstitious. 
As  a  reasoner  he  is  nothing.  He  has  not  the  least  tincture  of  the  esprit 
philosophique  upon  any  subject."'  He  censured  the  Doctor  severely  for 
failing  to  recognize  a  "promise  of  Milton's  genius  in  his  Juvenile 
Poems,"  and  for  not  feeling  the  beauties  of  Gray.-"  Philip  Neve,  whose 
opinion  of  ililtou  was  in  keeping  with  the  enthusiastic  spirit  of  the  age, 
afifirmed  "that  prejudice,  envy,  nay  malignity,  liave,  throughout  this 
work,  even  extinguislied  the  candour  of  its  author;  in  all  cases  deter- 
mined his  will  against  his  subject,  and  in  some  misled  liis  judgment."^* 

Gradually  the  Doctor's  feeling  of  revolt  against  the  spirit  of  his 
later  times  had  come  to  this  point  of  final  explosion.  Gradually,  too, 
the  narrowing  focus  of  his  Tory  jjivjudiccs  was  felt  to  center  upon 
Milton  as  the  productive  iiiHuencf  of  the  liberal  party.  Already,  seven- 
teen years  before  this  attack,  the  Monthly  Revieiv  had  sounded  a  warn- 
ing that  an  insult  to  the  Memory  of  the  "glorious"  poet  of  Paradise 
Lost  was  "an  offence  which  no  party  attachment  can  palliate."--  John- 
son, who  knew  the  fountain  heads  of  tlie  liberal  movement,  tlirew  himself 
across  its  main  Jliltonie  stream,  only  to  find  himself  for  a  time  in  the 
swirling  floods  of  wrath  and  indignation.  Even  his  venerable  age  did 
not  shield  him.  Nor  did  his  death  (1784)  check  the  voices  that  rose  to 
defend  Milton.  The  opposite  was  rather  true.  When  tlic  old  Doctor 
had  passed  away,  the  Great  Reviews  and  the  periodicals  seemed  to  feel 
a  new  license  to  cull  and  comment  to  suit  the  spirit  of  the  age. 

Few  writers  seem  to  have  thought  of  Milton  without  some  feeling 
of  resentment  against  Dr.  Johnson.  The  current  Ri views  felt  that  Mil- 
ton was  outraged.-'  Dunbar  felt  that  Jlilton  "lisped  in  numbers,"  and 
beheld  in  Comus  "the  dawn  of  an  immortal  day."-'^  James  Burnet,  who 
felt  Johnson  incapable  of  judging  Milton,  thought  the  subject  of  Comus 
even  better  chosen  than  that  of  Paradise  Lost,  and  Milton  alone  eompar- 

^oTwining  bought  the  Lives  Dec.  8,  1781.  ( 7'o  flis  lirolUcr,  May  ,^.  1784.) 
A  Country  Clergyman  of  the  iSllt.  Century,  pp.  \1g-\20. 

-'Cursory  Remarks  (1789),  pp.  134-35.  ^'eve  thought  that  tliis  Life  wnulil  bo 
the  last  "for  many  years."  and  tlius  warned  against  a  prol)ablc  misconception  of 
Milton  from  the  work.  But  several  Lives  of  Milton  were  written  within  a  few 
years.    Chap,  iv,  above. 

^'-Stated  in  an  adverse  criticism  on  the  Toryism  of  John  Pliillips,  which  led 
him  to  "call  the  despicable  James  I  'the  favorite  of  Heaven,'  and  Charles  his  son, 
'the  best  of  Kings'  " — a  fact  which  his  biographer  had  overlooked,  in  his  edition  of 
Philip's  Poems  u-ilh  a  Life   (1762).     Mo.  Rev.,  Sept.,  1762.     27:227. 

2»Mo.  Rev.,  I77g.  61:81-92,  186-191.     Cr.  Rev.,   1779,  47 :354-3<''2,  450-453- 

2<Jas.  Dunbar,  Essays  on  the  Hist,  of  Mankind  in  Rude  and  Vneivitized  Ages. 
In  a  Note,  quoted  by  the  Cr.  Rev.,  .•\ug.,  1780.    50:108. 


307]  THE  ROMANTIC   APPLICATION    OP   MILTON,   1765-1801  215 

able  to  Homer."  George  Canning  quoted  Comus,  and  considered  Milton 
the  father  of  English  poetry.^"  One  ultra  enthusiast  thought  this  poem 
the  best  expression  of  Milton's  "genuine  feeling,"  and  would  prefer 
the  honor  of  its  authorship  even  to  that  of  Paradise  Lostr''  Lycidas 
was  also  formally  defended  as  a  work  of  genius,  especially  in  the  much 
applauded  Critical  Essays  (1785)  by  John  Scott  of  Amwell.=*  In  all 
such  works  one  may  constantly  feel  an  attempt  to  deny  Johnson's  ad- 
verse views  respecting  these  particular  poems  of  the  great  English  poet. 

The  great  bulwark  of  defence  against  Dr.  Johnson  was,  however, 
the  editorial  work  of  Thomas  Warton.  If  his  edition  of  Milton's  Poems 
on  Several  Occasions  (1785,  1791)  was  not  suggested  by  Johnson's  criti- 
cism, certainly  it  was  greatly  stimulated  by  the  general  spirit  of  resent- 
ment. Warton,  however,  was  respectful,  though  confidently  sympathetic 
with  Milton.  The  Johnson  element  in  Warton 's  work  was  a  mere  inci- 
dent. The  work  was  intended  to  be  a  much  needed  contribution  to 
Miltonic  interests.  In  a  long  Preface  Warton  dwelt  iipon  the  neglect  of 
Milton's  earlier  poems,  first  by  the  reading  public,  and  secondly  by  vast 
editorial  activities  of  the  Eighteenth  Century.  Only  twice  before  (1645, 
1673)  had  the  poems  been  published  in  separate  editions,  and  never  had 
they  been  separately  edited.  Warton,  therefore,  undertook  the  work 
much  in  the  spirit  of  public  service  and  national  obligation,  and  as  such 
his  labors  were  received  with  applause.^' 

This  volume  of  Warton  became  at  once  the  rallying  point  of  enthu- 

-f^Lord  Monboddo.  Letter  xxxiv,  To  Sir  George  Baker,  Oct.  2,  1782.  ed.  Knight, 
1900.     pp.  214-215.     He  regarded  the  oratorical  excellence  of  P.  L.  "wonderful." 

^'''Gregory  Griffin,"  Microcosm  No.  ix.    Nov.  6,  1786.    Comus,  291-293. 

"Critical  Remarks.  The  Bee.  No.  143.  vol.  xvi,  265.  Drake's  Gleaner,  181J. 
No.  174.  iv,  306-320.  This  writer  exalted  blank  verse,  the  sublimity  of  Paradise 
Lost,  Allegro,  and  Comus,  but  felt  that  the  reputation  of  the  Epic  had  "given  a 
degree  of  respectability  to  all  his  other  writings,  yet  in  all  these  we  discover  more 
of  labor  than  is  suitable  to  the  ease  of  light  composition." 

-'John  Scott,  Esq.  (1730-1783).  Critical  Essays  on  Some  of  the  Poems  of 
Several  English  Poets,  edited  by  J.  Hoole,  1785.  Of  Milton's  poems,  he  chose 
Lycidas  for  "judicious"  vindication.  Mo.  Rev.,  July,  1785.  77:25-31.  Cf.  Cr.  Rev., 
Nov.,  1785.     60:345-350. 

=9Cr,  Rev.,  1785,  59:321-328,  421-430.  Mo.  Rev.,  1788,  79:1-12,  97-104,  342-351; 
1791,  91(10)  :24-34. 

There  were  some  adverse  matters,  as  A  Letter  to  T.  Warton,  &.  (1785),  which 
was  variously  criticised — as  a  "trifling"  indication  of  a  "carping  discontented  spirit" 
(Cr.  Rev.,  Aug.,  1785,  60:159)  ;  as  "well  worth  the  consideration  of  Mr.  Warton" 
(Mo.  Rev.,  Oct.,  1788,  79:380);  and  as  partly  true  (Thos.  Green,  E.xtracts  from 
the  Diary,  June  24,  1800).  But  Warton's  second  edition  (1791)  showed  him  capa- 
ble of  profiting  by  the  suggestions  made. 


216  THE    MILTON    TRADITION  [308 

siastic  opposition  to  Di-.  Johnson's  earlier  strictures  on  Milton/'"  But 
the  real  re-action  to  Warton's  work  was  a  quickened  interest  in  the 
sources  of  Milton's  Minor  Poems.  ''C.  T.  O."  began  to  emphasize  Mil- 
ton's indebtedness  to  Spenser,  the  Fletchers  and  Drayton,  early  in  1786.'" 
Philip  Neve  was  largely  interested  in  this  phase  of  Jliltoii  study 
(1789).^-  An  anonymous  writer,  in  The  Bcc,  argued  a  close  connection 
between  Drummond  of  Hawthornden  and  Milton's  Minor  Poetry.'" 
Et.  J.  Todd  published  his  learned  edition  of  Comus  (1798),  which  after- 
wards became  a  part  of  liis  great  Edition  of  Milton's  Compldc  Poetical 
Works  (1801).  Comi(S,  with  Warton's  Origiti  of  the  poem,  was  sepa- 
rately printed  (1799),  and  Nathan  Drake  was  interested  in  the  Platonic 
notes  of  this  Mask  and  II  Pcnscroso  during  the  last  years  of  the 
century.^* 

^"Cf.  the  Letters  of  Anna  Seuvrd  (1747-1809).  xii,  To  Court  Dewes,  Esq., 
Mar.  30,  1785.  She  hailed  Warton  as  "indeed  a  critic,"  and  hoped  that  his  powers 
may  "clear  the  times  from  their  darkness,"  referring  to  "the  misleading  sophistry 
of  Johnson."  .Mso  xv,  To  Mrs.  Brooke.  April  2T.  1785.  Slic  pronounced  the 
edition  "a  literary  treasure,"  and  thought  tliat  Warton  Iiad  "all  tiic  eloquence  and 
strength  of  Johnson,  without  his  envy." 

"Gent.  Mag.,  1786,  56:134-136,  486-488. 

^-Cursory  Rejinirks.  Neve  felt  that  Milton  was  indehted  to  Spenser  and  the 
Italians  for  Lycidas :  to  Ben  Jonson  for  Comus:  and  to  Beaumont  and  Fletcher 
for  //  I'ensernso.  But  his  remarks  on  the  last  poem  are  worth  quoting  entire. 
He  considered  "that  Beaumont's  song  in  the  Passioinitc  Mcidnutn  deserves  as  much 
attention  as  the  Pcnseroso  itself."  He  analyzed  the  song,  linding  many  of  its 
images  in  Penseroso,  but  little  contribution  to  the  structure  of  Milton's  poem. 

"The  subjects  they  severally  exhibit  are  very  different:  they  are  like  only  as 
shown  under  the  same  disposition  of  Melancholy.  Beaumont's  is  the  melancholy 
of  the  swain  :  of  the  mind  that  contemplates  nature  and  man,  but  in  the  grove 
and  the  cottage.  Milton's  is  that  of  the  scholar  and  tlie  philosopher:  of  the  intel- 
lect, that  has  ranged  tlic  mazes  of  science ;  and  that  decides  upon  vanity  and  hap- 
piness, from  large  intercourse  with  man,  and  upon  extensive  knowledge  and  expe- 
rience. To  say,  therefore,  that  Milton  was  indebted  to  Beaumont's  song  for  his 
Pcnseroso  would  be  absurd.  That  it  supplied  some  images  to  his  poem  will  be 
readily  allowed  :  and  that  it  would  be  difficult  to  find,  througliout  the  Penseroso, 
amidst  all  its  variety,  any  more  striking,  than  what  Beaumont's  second  stanza 
affords,  may  also  be  granted.  Milton's  poem  is  among  those  happy  works  of 
genius,  which  leave  a  reader  no  choice  liow  his  mind  shall  be  affected." 

^•'0»i  the  Character  and  IVritinf/s  of  Drummond  of  llmcthonidrii.  The  Hee. 
May  16,  1792.    The  Gleaner,  No.  151,  iv,  89-102.     By  Ileadley? 

■'*IJt.  Hours  (1800),  No.  XXXV.  In  No.  xxxv  he  considered  Milton  "the  model 
of,  and  the  first  who  excelled  in,  what  I  would  term  the  pictoresque  ode.  His 
L'/lllegro  and  //  Penseroso  are  the  most  exquisite  and  accurately  descriptive  poems 
in  his  own,  or  any  other  language,  .'ind  will  piDbalily  ever  reni.iin  unrivalled" 


309J  THE   ROMANTIC    APPLICATION    OF    JIILTON,    1765-1801  1217 

The  ehoici'st  of  all  these  labours  contributed  to  the  variorum  edition 
of  Milton  (1801)  by  II.  J.  Todd.  The  knell  of  adverse  criticism  was 
sounded  by  Edward  Copleston  (1776-1849),  whose  Burlesque  Review  of 
Milton's  r Allegro  (1807)  lashed  the  petty  critics  all  out  of  court.  There 
is  nothing  better  with  which  to  close  this  account  of  the  Minor  Poems, 
thau  the  following  appreciative  statement  of  Sir  Walter  Scott,  spoken 
in  a  connection  that  called  for  no  exaggeration.  His  purpose  was  to 
show  Milton  "s  splendid  superiority  to  the  poetic  conventions  of  his  own 
day,  as  exemplified  in  the  Minor  Poems.  But  even  in  doing  this,  Scott 
praised  more  the  great  Epic  as  the  embodiment  of  what  Milton  has 
meant  to  the  world. 

"While  his  great  contemporary  Milton  was  in  silence  and  secrecy  laying  the 
foundation  of  that  immortal  fame,  which  no  poet  has  so  highly  deserved,  Dryden's 
labours  were  ever  in  the  eye  of  the  public." 

".Milton,  who  must  not  be  named  in  the  same  paragraph  with  others,  although 
he  had  not  yet  meditated  the  sublime  work  which  was  to  carry  his  name  to  im- 
mortality, disdained,  even  in  his  lesser  compositions,  the  preposterous  conceits  and 
learned  absurdities  by  which  his  contemporaries  acquired  distinction.  Some  of  his 
slighter  academic  prolusions  are,  indeed,  tinged  with  the  prevailing  taste  of  the 
age,  or,  perhaps,  were  written  in  ridicule  of  it ;  but  no  circumstance  in  his  life  is 
more  remarkable,  than  that  Coiiius,  the  Monody  of  Lycidas,  the  Allegro  and 
Pciiscroso,  and  the  Hyinit  to  the  Nath'ity,  are  unpolluted  by  the  metaphysical  jar- 
gon and  affected  language  whicli  the  age  deemed  indispensable  to  poetry.  The 
refusal  to  bend  to  an  evil  so  prevailing,  and  which  held  out  so  many  temptations 
to  a  youth  of  learning  and  genius,  can  only  be  ascribed  to  the  natural  chastity  of 
Milton's  taste,  improved  by  an  earnest  and  eager  study  of  the  purest  models  of 
antiquity. "■^'' 

This  statement  is  the  typical  conclusion  of  the  century  very  well 
stated.  Milton's  Minor  Poetry  was  felt  to  possess  an  unusual  excel- 
lence; but  rarely  was  this  smaller  body  of  poetry  thought  of  as  Milton. 

The  last  period  of  the  century  was  pre-eminently  one  of  responses 
to  the  Miltonic  activities  of  the  preceding  periods.  Extensive  editorial 
labours  were  not  to  be  expected ;'"'  though  the  former  labours  of  this 

The  Lyric  excellence  of  Milton  was  also  emphasized  in  Letters  of  Literature 
(1785),  (Letter  v),  by  "Robert  Heron,"  Pinkerton.  He  thought  that  Gray  had 
attained  "a  classic  brevity  and  terseness  formerly  unknown  in  England,  save  to 
Milton  alone." 

^'-Life  of  John  Dryden.     Work  of  J.  Drydeii  (1S08).    I,  pp.  3,  16. 

"^There  were,  however,  some  editorial  labours  worthy  of  notice.  J.  Buchanan 
rendered  Six  Books  of  Paradise  Lost  in  Granunatical  Construction,  with  Notes 
(1773).  R.  Bladon  printed  both  Epics,  with  "historical,  philosophical,  and  explan- 
atory Notes,  from  several  authors"  (1775).  Other  publishers  included  similar 
selections  of  Notes,  the  chief  contribution  being  "the  celebrated  critique"  by  Dr. 
Johnson,  used  by  Parson   (1796),  and  Evans  (1799). 


218  THE    MILTON    TR^VDITION  [310 

kind  were  iu  constant  demand.  The  English  people  had  eome  to  under- 
stand Milton,  set  forth  iu  his  Prose  and  more  powerfully  in  his  Epics; 
and  these  works,  especially  the  greater  Epic,  were  the  things  most  in 
demand.  For  a  hundred  years  the  exalted  works  of  Milton  had  gradu- 
ally permeated  the  life  of  England,  and  helped  to  stir  up  the  nation  to 
throw  off  its  yoke  of  depression.  Gradually  the  volume  of  tlie  response 
had  grown  until  it  had  formed  visible  points  of  contact  with  almost 
every  phase  of  the  great  life-movement,  called  Romanticism.  The  indi- 
cation of  some  of  these  more  important  points  of  contact,  is  the  task 
now  uiulertaken. 

First  of  all  Paradise  Lost  formed  a  close  contact  with  the  better 
social  life  of  the  period,  in  the  narrower  sense  of  the  word  social.  This 
-^'was  reflected  on  a  rather  large  scale  in  the  massive  correspondence  of 
'the  time.  The  average  volume  of  Letters  is  almost  equally  divided  in 
content  between  the  purely  social  and  the  literary  elements.  The  Letters 
of  Gray  usually  have  au  ex  cathedra  more  formal  reservation  of  spirit, 
even  when  he  would  seem  to  speak  informally.  But  even  they  indicate 
that  he  breathed,  with  his  friends,  a  pure  Miltonie  air.  The  Wartons 
and  Mason  bring  Milton  down  at  times  almost  to  street-corner  chit-chat. 
Anna  Seward  discusses  everything  Miltonie  in  every  degree  of  dignity, 
even  to  the  spending  of  a  page  on  a  single  sonnet.  Cowper  made  Milton 
an  everyday  matter  of  business  and  liomelife.    The  one  tiling  iiroiuinent, 

The  Rev.  John  Gillies,  D.D.,  edited  Millon's  Paradise  Lost.  lUiislratcd  with 
Texts  of  Scripture  (1788,  2d.  ed.  1793),  which  received  brief  coiniiicndation  (Mo. 
Rev.,  Oct..  1788.  79:.36g).  The  famous  Methodist  divine,  the  Rev.  John  Wesley, 
edited  Extracts  fro)n  Milton's  Paradise  Lost,  U'ith  Xoles  (1791).  Capel  Loft 
undertook  an  edition  of  Paradise  Lost,  A  Poem  in  Twelve  Books.  The  .4uthor  John 
Milton.  Printed  from  the  First  and  Second  Editions  Collated.  The  Original 
Orthography  Restored;  the  Punctuation  Corrected  and  Extended.  IVith  various 
Readings;  Notes  Chiefly  Rhythmical.  The  First  Book  (1791)  met  with  encourage- 
ment, and  the  work  was  carried  through  Rook  I-'our  (179.O.  where  it  was  dropped. 
(Cr.  Rev.,  Jan.,  1793,  n.  s.  7:12-14.) 

The  Recovery  of  Man;  or  Paradise  Regained,  in  Prose,  was  printed  {1771). 
Charles  Dunster  felt  that  the  Minor  Epic  was  a  worthy  poem  too  much  neglected, 
and  plead  "its  merits  with  the  masterly  discrimination  of  an  eloquent  advocate," 
in  a  critical  edition  (1795).  according  to  the  testimony  of  11.  J.  Todd  (Life  of 
Milton,  1826,  211). 

Samuel  Hayes,  a  disciple  of  Milton,  felt  that  this  smaller  Epic  had  failed  for 
want  of  furnishing  an  opportunity  for  "magnificent  images  and  romantic  descrip- 
tions." (Prayer,  A  Poem.  Cr.  Rev.,  Jan.,  1778,  45:74-75.)  Tlios.  Green  thought 
the  suhject  most  imhappily  chosen.  [Extracts.  March  i,  i79g.)The  Bi-.igraphia 
Drainalica  (1812,  II,  part  ii.  pp.  518)  held  that  this  Epic  was  inferior  only  in 
comparison  with  Paradise  Lost.  Otherwise  it  stood  at  the  head  of  English  epic 
poetry. 


311]  THE   ROMANTIC   APPLICATION    OP    MILTON,    1765-1801  219 

upon  which  all  seem  to  agree,  is  that  the  serious  thought  of  social  life, 
as  respects  Milton,  turns  upon  his  greater  Epic. 

There  was  one  writer,  whose  entire  writing  seems  to  reflect  just  this 
phase  of  eighteenth  century  life,  in  all  its  degrees  of  seriousness  or  the 
opposite.  That  writer  was  Horace  Walpole  (1717-1797),  a  summary  of 
whose  Miltonic  interests  is  the  best  comment  on  the  topic  now  in  hand. 

Late  in  his  life  he  regarded  the  Tractate  "a  severe  institution."  ( To  tlie 
Countess  of  Upper  Ossory,  Dec.  26,  1789.  Toynbee,  xiv,  244.)  Twenty  years 
before,  he  had  recognized  Milton  as  having  "noble  sentiments  of  liberty,  (but 
asked)  who  would  remember  him  for  his  barbarous  prose?"  {To  The  Hon.  Henry 
Seymour  Conway,  Nov.  14,  1769,  vii,  332.) 

Walpole  showed  fondness  for  some  of  the  Minor  Poems,  especially  in  his 
later  life.  He  thought  that  "Allegro,  Penseroso,  and  Comus  might  be  designated 
from  the  Three  Graces."  (To  John  Pinkcrton,  June  26,  1785,  xiii,  279-285.)  He 
was  attracted  by  the  garden  scene  in  Allegro  (To  Miss  Mary  Berry,  Oct.  i,  1794. 
XV,  312-14),  and  thought  that  "there  is  more  nature  in  si.x  lines  of  Allegro  and 
Penseroso,  than  in  all  the  laboured  imitations  of  Milton."  (To  Miss  Mary  and 
Miss  Agnes  Berry,  Sept.  16,  1791,  xv,  S9-60.) 

Walpole  was  ever  interested  in  the  scenic  effects  of  Milton's  poems,  and 
especially  those  of  Paradise  Lost.  This  fact  is  very  evident  in  the  Essay  on 
Modern  Gardening  (1785),  which  is  given  much  to  extolling  Milton.  Indeed  Mil- 
ton's exalted  greatness  was  the  standard  of  reference,  whether  Walpole  indulged 
in  serious  reflection  or  ridicule  (Toynbee,  I,  312).  Sometimes  he  wa.s  impatient 
with  adverse  criticism  of  Milton.  (To  .  .  .  Mason,  Jan.  3,  1782,  xii,  141.)  Some- 
times he  was  merely  curious,  as  when  he  wrote  to  Horace  Mann  for  "a  print  of 
Vallombrosia,"  because  of  "a  passion  there  is  for  it  in  England,  as  Milton  has 
mentioned  it."  (May  13,  1752,  iii,  94;  cf.  Paradise  Lost,  I,  302.)  He  had  at 
Strawberry  Hill,  in  the  Glass  Closet,  a  copy  of  "Paradise  Lost  given  by  the  Duke 
of  Wharton  to  Lady  Mary  Wortley  Montagu,  who  had  written  verses  in  tlie  first 
leaf."  (See  her  Letters  and  Works,  iSgs,  11,  503,  where  these  verses  appear  in 
print.)  Walpole,  like  Steele,  could  turn  Paradise  Lost  to  social  account  with  great 
facility;  as  when  he  described  the  cliarm  of  his  heart  at  a  ball  of  Miss  Anne  Pitt's 
in  terms  of  Paradise  Lost,  I,  775-788.      (To   (Her),  Feb.  21,   1764,  vi,   15-16.) 

But  in  serious  criticism  Walpole  proudly  boasted  independence  of  .Aristotle 
and  the  rules,  preferring  "the  Extravagant  beauties  of  Shakespeare  and  Milton 
to  the  cold  and  well  disciplined  merit  of  .\ddison,  and  even  to  the  sober  and  cor- 
rect march  of  Pope."  (  To  Elie  De  Beaumont,  March  18,  1765,  vi,  201.)  William 
Hayley's  Essay  on  Epic  Poetry,  in  Five  Epistles  to  .  .  .  Mason,  gave  considerable 
attention  to  Milton  (Cf.  Trib.  171),  and  called  for  a  letter  from  Walpole  to 
Mason  (June  25,  1782,  .xii,  273).  The  tone  of  this  letter  was  bitter  irony,  provoked, 
it  seems,  by  Johnson's  Life  of  Milton  (1779).  Walpole  said,  "Milton  all  imagina- 
tion, and  a  thousand  times  more  sublime  and  spirited  (than  Virgil),  has  produced 
a  monster  (epic)  !"  In  another  letter  to  Mason  (No.  2272,  1782?,  xii,  172),  Wal- 
pole calculated  that  four  times  what  Mason  is,  would  make  him  a  little  above 
Milton,  and  just  equal  to  Shakespeare,  "the  only  two  mortals  I  am  acquainted  with 
who  ventured  beyond  the  visible  diurnal  sphere,  and  preserved  their  intellects." 


220  THE    MILTON    TRjVDlTION  [312 

Milton's  writings  made  an  immediate  connection  with  the  religious 
interests  of  eighteenth  eenturv  life,  and  furnished  paradoxically  sup- 
port to  ortliodoxy  and  to  tlie  Romantic  tendencies  in  religion.  The 
Freethought  that  sprang  up,  parallel  to  the  mysticism  of  the  time,  tended 
toward  skeptical  views  of  the  world,  of  evil,  and  of  the  moral  basis  of 
tlie  universe.  The  Churchmen  who  strove  to  defend  the  orthodox  views 
constantly  appealed  to  Milton  as  the  highest  authority,'"  and  Paradise 
Lost  was  declared  to  have  "contributed  more  to  support  the  orthodox 
creed  than  all  the  bodies  of  divinity  that  were  ever  written."-'" 

This  contribution  was  in  support  of  wluit  one  may  call  classical 
religion.  But  the  greater  influence  of  ^lilton  supi)orted  the  cause  of 
the  liberals  in  religion,  as  in  politics,  ililton  liimself  had  made  formal 
attacks  upon  the  abuses  of  the  established  orders  of  the  Church.  He 
iidierited  a  breach  with  the  Church  of  Rome.  He  repudiated  the  Church 
of  England.  He  found  no  existing  organization  of  the  Church  adequate 
to  the  ideals  of  his  own  free  spirit.  His  stantiard  of  worship  was  that 
of  the  Master,  in  his  discourse  at  Jacob's  Well,''^  and  that  ideal  Milton 
attempted  to  embody  in  the  morning  praise  of  Adam  and  Eve  ii\  the 
Garden  of  Eden. 

Lowly  they  bowed,  adoring,  and  began 

Their  orisons,  each  morning  duly  paid 

In  various  style ;  for  neitlier  various  style 

Xor  holy  rapture  wanted  tlicy  to  praise 

Their  Maker,  in  lit  strains  pronounced,  or  sung 

Unmeditated  ;  such  prompt  eloquence 

Flowed  from  their  lips,  in  prose  or  numerous  verse, 

More  tuneable  than  needed  lute  or  harp 

To  add  more  sweetness. 

Pew  details  in  the  great  Epic  flrud  the  imagination  of  tiie  liberal 
party  in  religion  with  such  power  and  productive  influence  as  this  simple 
scene  of  "unmeditated"  worship  in  Eden. 

The  intlueiice  of  Paradisr  Lost  extended  to  tlu-  extreme  radicals  in 
religious  thought.  This  influence  was  pronounced  in  a  publication, 
called  Di  la  Predication,  which  appeared  anonymously  in  Paris  (1766), 
and  apparently  in  London  the  same  year.  The  author  was  for  revolu- 
tion.    His  thesis  was  that  the  Church  had  reallx'  done  iiotliiiig  to  solve 

•'"Appendix  G. 

•'"Review  of  Cumberland's  Calvary  (Mo.  Rev.,  Sept..  i;y-»,  90(0)  :i-7).  Nathan 
Drake  thought  that  the  reputation  of  ParaTlise  Lost  was  due  largely  to  its  abstruse 
Theology.  (Lit.  Mrs.  See  Cr.  Rev.,  May,  iygg.  n.  s.  26:11 -19.)  The  dual  nature 
of  Milton  as  poci  and  theologian  was  recognized  in  a  review  of  The  I'nsthuiiious 
ll'orks  of  Isaac  Walts,  2  vols.,  rT79  (Mo.  Rev.,  61  :4.!.s).  "It  needed  the  genius  of 
Milton  to  adopt  the  cant  of  Calvinism,  and  yet  maintain  tlie  dignily  of  poetry." 

■'"'./o/iH  4:23-24. 


313]  THE   ROMANTIC    APPLICATION    OP    MILTON,    1765-1801  221 

the  social  problems  of  life.  The  priests  had  preached  for  ages,  and  all 
in  vain.  The  poets,  too,  had  preached  in  vain.  The  climax  of  his  argn- 
meiit  he  found  in  the  failure  of  Milton 's  message ;  who,  ' '  of  all  the  epic 
poets,"  had  "chosen  the  grandest  subject,  and  the  fittest  for  a 
preacher.  His  plan  is  immense !  It  comprehends  the  counsels  of  the 
Almighty,  and  the  whole  creation."  Since  tliat  has  failed,  the  machinery 
for  handling  the  problems  of  life  through  the  Church  is  inadequate  for 
the  task.  The  whole  argument  is  little  more  than  Milton's  own  con- 
clusions, misapplied  by  a  mind  that  has  taken  fire  from  the  imaginative 
element  of  Paradise  Losi.*" 

But  the  great  religious  influence  of  Milton  tended  in  the  direction 
of  Mysticism.  The  great  poet  was  himself  a  Mystic  in  religion  and 
poetry,  for  the  two  were  one  in  his  thought.  He  believed  in  the  direct 
impulse  of  the  Spirit.  His  religious  gravitation  was  toward  Quakerism. 
His  great  Epic  was  produced  under  the  conscious  inspiration  of  the 
Holy  Spirit.  His  direct  appeal  is  to  the  divine  that  is  in  man.  That 
appeal,  moreover,  Tound  considerable  response  in  the  heart  of  eighteenth 
century  English  Mysticism.  William  Law,  the  greatest  mystic  of  the 
mid-century,  was  not  unfamiliar  with  the  words  of  the  divine  Milton. 
John  Wesley,  the  founder  of  Methodism,  was  a  student  of  Milton,  and 
late  in  life  (1791)  edited  Extracts  from  Paradise  Lost.  Thomas  Hart- 
ley, an  e.xaet  contemporary  with  Dr.  Johnson,  but  a  Millennialist  and  an 
admirer  of  Wesley,  manifested  an  interest  in  Milton's  Epics.*' 

Milton's  influence,  however,  was  more  upon  the  inner  life  of  the 
Nation,  than  effective  through  any  individual  leadership.  His  whole 
conception  of  life  was  essentially  mystical ;  and  the  breathing  of  his 
spirit,  perhaps  more  than  any  other  force,  brought  new  life  into  the 
dry  bones  of  the  classical  faith.  Milton's  influence  was  powerful  because 
he  re-introduced  into  the  life  of  England  an  other-world  element  wliicli 
deepened  the  religious  life  of  the  nation.  It  was  this  mystical  relation 
with  the  eternal  world  of  the  spirit  in  Milton  that  counted  for  the  largest 
results.     Leslie  Stephen  has  very  well  said : 

"With  Shakespeare,  or  Sir  Thomas  Browne,  or  Jeremy  Taylor,  or  Milton, 
man  is  contemplated  in  his  relations  to  the  universal ;  he  is  in  the  presence  of 
eternity  and  infinity;  life  is  a  brief  drama;  heaven  and  hell  are  behind  the  veil  of 
phenomena;  at  every  step  our  friends  vanish  into  the  abyss  of  ever  present  mys- 
tery. To  all  such  thoughts  the  (classical)  writers  of  the  eighteentli  century  seemed 
to  close  their  eyes  as  resolutely  as  possible."*- 

■•"Mo.  Rev.  Appendix,  1766,  34:538-547. 

■"Thos.  Hartley  (1709-1784).  Paradise  Restored;  Or,  A  Testimony  to  the 
Doctrne  of  the  Blessed  Millenuium.  (1764.)  Cr.  Rev.,  March,  1764,  17:167-172. 
Cf.  the  Diet.  Nat'l.  Riog.,  "Hartley." 

*-Hist.  of  Eny.  thought  in  iSth.  Century.     II,  p.  370. 


222  THE    JIILTOX    TRADITION  [314 

"The  essence  of  romance  is  mystery,"  says  Dr.  F.  H.  Hedge.  That 
fondness  for  the  mysteries,  whicli  inheres  in  Romanticism,  he  attribiites 
to  the  early  " influence  of  the  Christian  Religion;  which  deepened  im- 
measurably the  mystery  of  life,  suggesting  something  behind  and  be- 
yond the  world  of  sense. ''^"  Professor  Beers  has  defined  the  "deeper 
significance"  of  Romanticism  to  be  a  desire  for  the  re-introduction  of 
just  that  spirit  of  religion  which  px'oduced  the  romance — "a  reaching 
out  of  the  human  spirit  after  a  more  ideal  type  of  religion  and  ethics 
than  it  could  find  in  the  official  churehmanship  and  formal  morality  of 
the  time.""*"'  ^Qnuniticism  in  religion  is  fundamentally  a  yearning  for  a 
conscious  vital  contact  or  union  of  the  soul  with  the  unseen,  but  real." 
world  of  the  spirit. 

Among  "the  means  that  helped  to  satisfy  this  yearning  of  the 
religious  spirit  of  the  Eighteenth  Century,  Paradise  Lost  occupied  a 
position  of  double  strength.  As  the  embodiment  of  a  powerful  mystical 
conception  of  life,  the  poem  held  a  didactic  position  second  only  to  the 
English  Bible,  and  was  only  a  little  less  widely  known.  These  forces 
led  the  way,  and  Bnnyan  was  not  far  beliind.  Through  these  forces  an 
entrance  was  made  into  the  world  of  tlie  sjjirit.  But  anotlier  means  was 
added  to  vivify  the  reality  of  tliat  spirit-world.  The  means  introduced 
was  the  vital,  vivid,  satisfying  faitli  of  the  Medieval  Religious  Romances. 
But  in  those  Rotiumces,  it  was  .soon  discovered  that  the  nation  was  only 
receiving  the  faith  of  ililton  in  dilute  form.  The  great  Poet  had 
breathed  the  vital  breath  of  the  old  Romances,  and  treasured  their  vital- 
ity in  the  greater  Romance  of  Paradise  Lost,  with  which  Medieval  Faith 
had  nothing  worthy  to  compare.  Thus  the  whole  Medieval  Revival,  on 
its  religious  side,  served  to  enhance  the  religious  influence  of  Milton's 
great  religious  Poem. 

"Milton's  fame  was  something  which  depended  a  gooil  deal  on 
politics."^'  This  fact  argues  a  very  close  relation  between  him  and  the 
I)olitical  interests  and  influences  of  any  [)articnlar  period.  But  the 
fame  that  came  to  Milton  from  .sucli  relations  was  never  a  nuitter  of 
charity.  His  political  friends  designed  to  profit  by  their  favours;  and 
certainly  Milton  supported  his  friends  with  an  influence  that  more  than 
repaid  all  their  kindnesses.  Thus  the  Wliig  Party,  as  early  as  1688, 
exalted  Milton,  and  he,  in  turn,  did  iinich  to  bring  about  an  ultimate 
triumph  of  many  of  the  Whig  principles.  The  very  bitterness  of  Dr. 
Johnson 's  Tory  attack  upon  Milton  was  a  clear  receipt  to  the  great  Poet 
for  all  liis  political  obligations.     But  even  in  polities,  it  was  through 

<''Dr.    1".    11.   Hedge,   Classic  and   Romantic.     Atlantic  Monthly,   March,    i886, 
vol.  57 

**//  Hist,  of  Eng.  Rom.  in  the  iSth.  Cent.,  p.  .32. 

"T.  S.  Perry,  A  Hist,  of  Eng.  Lit.  in  the  i8th.  Cent.,  pp.  35-36. 


315J  THE    ROMANTIC    APPIJCATION   OP    MILTON,    1765-1801  223 

Paradise  Lost  that  Milton  attained  liis  throne  of  influence ;  and  it  was 
very  largelj'  from  the  authority  of  that  poetical  throne  that  he  reigned 
over  social  and  political  thought. 

John  Morley  regards  Milton  as  the  real  father  of  "spiritual  and 
speculative  freedom"  for  England,  and,  in  a  sense,  for  the  world. 

"Milton's  moving  argument,  at  once  so  delicate  and  so  haughty,  for  the  rights 
and  self-respecting  obligation  of  'that  inner  man  which  may  be  termed  the  spirit 
of  the  soul,'  is  the  hidden  mainspring  of  the  revolt  against  formalism,  against 
authority,  and  almost  against  church  organization  in  any  of  its  forms."'"' 

Much  the  same  was  said,  a  generation  earlier,  by  Mr.  Alfred  H. 
Welsh : 

"During  a  long,  sultry  mid-day  of  twenty  years  (1640-1660),  Milton  gave 
himself  to  the  championship  of  ideas — ideas  that  were  to  emancipate  the  press — 
ideas  that  plucked  at  thrones — ideas  that  were  to  raise  up  commonwealths."*' 

These  ideas  with  their  appeal  to  the  indefeasible  rights  of  men,'"  were 
partly  worked  out  in  prose  by  Milton  in  the  broils  of  the  Civil  War, 
and,  in  his  Epics,  refined,  completed,  and  laid  up  in  an  immortal  repos- 
itory. Thus  Milton  worked  his  ideas  upward  into  that  dream  of  an  ideal 
commonwealth  which  has  exercised  an  immeasurable  influence  upon  the 
democratic  destinies  of  England.*"  With  the  element  of  liberty,  Milton 
combined  that  of  Righteousness,  as  lying  equally  at  the  basis  of  individ- 
iial  and  social  happiness.  He  fortified  his  ideal  commonwealth,  there- 
fore, with  those  direct  instructions  that  make  for  happiness,  and  with 
that  powerful  exposition  of  social  and  national  evils  set  forth  in  Adam's 
Vision  of  Sin  and  Death. 

Milton  added  to  his  ideas,  powerful  in  themselves,  the  crowning 
glory  of  poetical  expression,  which  gave  them  a  doubly  effective  appeal 
to  the  eighteenth  century  imagination.  The  power  of  his  appeal  was 
felt  to  be  a  molding  force  in  public  life.  Milton  was  exalted  above 
Locke  by  William  J.  Mickle  (1735-1788),  in  an  argument  of  two  closely 
printed  pages,  and  poetry  in  general  was  considered  superior  to  philoso- 
phy as  a  civilizer.  When  Mickle  came  to  define  that  powerful  poetry, 
he  appealed  to  Milton,  as  an  authority  in  the  Tractate,  and  as  an  exam- 

*^Oliver  Cromwell  1910,  pp.  174-175. 
*''Dev.  of  Eng.  Lit.  and  Language,  1883,  I,  473. 
*'Leslie  Stephen.    Hobbcs,  pp.  205-206. 

*'Francis  B.  Gummere.    Democracy  and  Poetry,  1911,  pp.  38-43. 
It  is  important  to  recall,  in  this  connection,  that  reformers,  since  Milton's  day, 
have  been,  as  a  rule,  readers  of  his  works,  and  of  Paradise  Lost  in  particular. 


224  THE    MILTON    TRADITION  [316 

pie  in  Paradise  Lost,  for  an  exposition  of  what  time  and  effective  poetry 
must  contain. •^° 

Milton's  ideas  worked  ont  their  political  influence  largely  through 
the  "Whig  Party,  whicli  was,the  renilezvous  of  liberalism  and  rep\ibliean 
tendencies.  Within  this  party,  and  through  its  influence,  Paradise  Lost 
had  received  its  first  great  national  recognition  and  applause.  Within 
this  party,  Toland,  Joseph  Washington,  and  others,  in  the  last  decade 
of  the  Seventeenth  Century,  had  reeoniniended  Milton's  Prose  Writings 
as  important  to  the  cause  of  liberty ;  and,  a  generation  later,  tliat  group 
of  liberals,  led  by  such  men  as  Birch,  Baron,  and  IloUis,  had,  by  per- 
sistent effort,  secured  for  Milton's  Prose  Works  a  wide  acceptance  with 
the  English  reading  public.  Gradually  and  persistently,  Jlilton  had 
come  to  be  regarded  as  a  very  great  source  of  influence  for  reforms 
within  the  constitutional  limitations  adhered  to  by  the  Whig  Party. 

This  influence,  with  its  ever  increasing  volume,  pas.sed  over  into  the 
last  great  period  of  the  Eighteentli  Century  (176.5-1 801).  The  refrain 
of  larger  liberty  was  caught  up  by  the  passionate  entliusiasin  of  Mrs. 
Macaiday  Graham,  the  historian  (Appendix  C),  and  J\Iilton  was  at  least 
negatively  supported  by  the  historian,  William  Harris  (1720-1770), both 
of  whose  writings  were  widely  read.  Hollis  himself,  was,  until  1774, 
a  living  link  between  the  earlier  labours  of  his  party  antl  this  later 
period.  Blackburne,  another  prominent  member  of  the  earlier  group, 
who  died  in  1787,  continued  to  publish  and  recommend  Milton,  and 
was  regarded  as  a  .sort  of  national  champion  of  the  Poet's  honour  against 
the  ungoverned  assaidts  of  Toryism  from  the  pen  of  Dr.  Johnson. 

Birch  and  Baron  had  both  died  in  1706,  but  tlieir  earlier  labours 
in  the  cause  of  liberty,  whicli  they  identified  largely  with  the  views  of 
Milton,  were  received  with  an  ajjpreeiatioji  tliat  approached  the  spirit 
of  i)ulilic  gratitude.  Birch  was  usually  mentioneii  in  terms  very  com- 
plimentary. Baron,  who  was  at  heart  a  reijublicaii,  was,  with  good 
reasons,  remembered  as  an  example  of  labour  antl  sacrifice  in  tlie  ad- 
vancement of  Milton's  influence.  Baron  had  spent  his  income  almost 
entirely  in  the  cause  of  liberty.  At  Ids  own  expens(>.  lie  had  printed 
an  edition  of  the  Kilajiioclastes.  Tliis  edition  was  jiublislu'd,  for  the 
benefit  of  Baron's  needy  family,  in  1770,  with  tiie  following  praise- 
worthy comment  ni)on  the  jHil)lic  s])irited  editor: 

".\'o  licart  c-vcr  glowed  with  ;i  mure  .-irdciU  and  generous  warmth  in  the  cause 
of  religious  and  civil  liberty  than  Mr.  Baron's.  He  wrote,  lie  published  and  re- 
published perpetually  in  its  defence."  The  writer  cited,  with  approval.  Baron's 
estimate  of   Milton,  as  "perhaps  the  greatest    (genius)    that  ever   appeared  among 

""Wm.  J.  Mickle.  The  Life  of  l.ois  De  Ciiiiioens  (151;  1579)-  Chalmers,  Eng. 
Poets,  21  :S98-6o5,  p.  (>ri^,  note   10.     Wriltcn  in    1775. 


317]  THE   ROMANTIC   APPLICATION   OP   MILTON,   1765-1801  225 

men.     He  had  the  highest  sense  of  liberty,  glorious  thoughts,  with  a  strong  and 
nervous  style.     His  works  are  full  of  wisdom,  a  treasure  of  knowledge."''^ 
I-' 
(      With  such  emphasis  persistently  laid  upon  Milton's  views,  one  is 

not  surprised  to  find  that  Milton  came  to  be  regarded  as  a  champion  of 
those  very  reforms  within  the  State  which  were  felt  to  be  necessary 
during  the  last  decades  of  the  Eighteenth  Century.^-  Nor  is  one  surprised 
to  find  that  political  radicalism,  which  sprang  up  mainly  within  the 
Whig  Party,  and  grew  into  a  powerful  independent  movement,  felt,  in 
an  effective  manner,  the  influence  of  Milton.^  This  great  poet  and  polit- 
ical writer,  at  tliat  time  so  popular  with  the  English  people,  had  himself 
a  century  before  stood  for  very  radical  measures  in  Church  and  State. 
There  was,  therefore,  a  natural  bond  of  sympathy  between  MUton,  and 
such  Radicals  as  Rousseau  and  Godwin,  Paine  and  Mirabeau,  who  stood, 
in  various  ways,  for  the  subverting  of  tlie  existing  order  of  society  and 
government.  At  least  three  of  these  leaders  of  radicalism  were  students 
of  Milton ;  and  they  seem  to  show  altogether  many  traces  of  radical 
influence  from  his  Prose  Works  and  Paradise  Lost.  Perhaps  it  was  the 
radicalism  of  Milton,  speaking  through  eighteenth  century  radicals, 
which  convinced  Thomas  Warton  that  Milton's  Prose  tended  to  subvert 
the  present  institutions  of  the  nation.'^ 

Political  radicalism  in  the  Eighteenth  Century  had  a  positive  and  a 
negative  side,  both  of  which  probably  received  heavy  influence  from 
Milton.  On  the  negative  side,  their  very  radicalism  formed  a  point  of 
contact  between  the  radicals  and  the  radical  movement  of  the  seven- 
teenth century.  Radical  writers,  as  a  rule,  would  naturally  sympathize 
with  the  overthrow  of  the  government  in  the  Civil  War,  and  would  no 
less  naturally  turn  to  Milton,  the  great  Mind  of  that  radical  movement, 
who  was  regarded  by  the  liberal  element  of  their  own  countrymen  as 
an  oracle  of  social  and  political  wisdom,  for  a  popular  support  of  their 
own  ungoverned  extremes. 

The  logical  connections  of  thought  and  influence  seem  to  be  close. 
Milton  had  contended  for  revolution  of  government.  Later  radicals 
went  to  the  extreme  of  subverting  government  as  essentially  an  evil. 

'^'Mo.  Rev.,  April,  1771,  44:334-336. 

^-Gray  felt  that  there  was  permanent  value  in  Milton's  Panegyric,  the  De 
Pace,  Arcofagitica.  and  the  Advice  to  Philip,  but  it  must  be  distinguished  from 
his  occasional  opinions  of  things.  Letter  to  The  Rev.  Norton  Nicholls,  April  14, 
1770.  Works  (Gosse),  1884,  HI,  360.  Gregorio  Leti,  Life  of  Cromwell,  called  him 
"the  Tyrant  without  vices,"  and  declared  Milton's  praise  upon  Cromwell  not  more 
than  he  deserved.     Cr.  Rev.,  Feb.,  1783,  55:i55n. 

'■'Milton's  Poems,  1791.  Preface,  xiii-xiv.  These  strictures  of  Warton  were 
answered  by  Wm.  Hayley,  in  the  Dedication  of  his  Life  of  Milton  (1794),  in- 
scribed to  Joseph  Warton.     Cited  by  the  Mo.  Rev.,  1796,  100(19)  '^Si- 


226  THE    MILTON    TRADITION  [318 

Milton  had  goue  back  of  the  Constitutioii  to  justiiy  the  riddance  of  a 
bad  king.'^*  Later  radicals  appealed  to  what  they  considered  first  prin- 
ciples in  an  attempt  to  overthrow  the  institution  of  kingship.  The 
sanction  of  such  extremes  may  have  been  felt  in  Paradise  Lost,  where 
Milton  drew  his  Pandemonium  with  an  eye  upon  the  debased  Court  of 
Charles  II.,  pictured  the  Infernal  Organization  as  sort  of  political 
hierarchy,  and  Satan  himself  as  an  Oriental  despot,  who  felt  that 

"To  rule  is  worth  ambition,  though  in  Hell."''^ 

Milton  had  also  found  the  Church  of  his  day  inadequate  to  the 
demands  of  true  spiritual  liberty,  and  had  laid  the  responsibility  of 
thi^  conilition  at  the  door  of  priest  and  presbyter.  This  charge  appeared 
in  its  generalized  form  in  the  writings  of  eighteenth  century  radicals, 
who  attacked  religious  organizations  of  all  times.  The  wliole  order  of 
the  church  was  held  to  be  a  source  of  social  evils,  an  institution  that  had 
gradually  sprung  uj)  under  the  direction  of  leaders  who  were  bent  upon 
oppression.  The  re-publication  of  Milton's  Tracts  upon  tlie  Church  was 
an  index  of  his  importance  in  this  connection,  while  the  simple  worship 
portrayed  in  Paradise  Lost  had  ever  operated  upon  the  liberal  imagina- 
tion toward  the  same  conclusions. 

The  leading  radicals  of  tlie  Eighteentli  Century  believed  in  tlie  inher- 
ent goodness  of  human  nature,  wliich  was,  as  they  thought,  able  from 
within  to  control  the  conduct  of  life.  All  government  was,  therefore, 
in  the  nature  of  a  restraint  upon  the  inner  rights  of  man ;  a  view  that 
.seems  easily  traceable  to  Milton,  wliose  coneeption  of  man  lias  here  been 
sliorn  of  its  inner  and  essential  divinity.  In  the  eighteenth  century 
view,  unqualified  liberty  of  the  individual  was  the  ideal ;  and  some  even 
held  that  government  of  any  kind  was  an  evil,  to  be  endured  only  for 
the  restraint  of  fools.    ■^ 

To  argue  these  convictions  most  advantageously,  political  theorists 
called   for  a   return   to  an    imaginary   "state  of  nature,"  where  there 

■■'^"Whpn.  indeed,  you  cut  off  a  king's  head  you  have  to  appeal  to  general 
principles.  Constitutional  principles  are  not  available.  Milton  had  to  claim  inde- 
feasible rights  for  the  people,  and  men  like  honest  John  Lilburne  used  language 
which  anticipated  Paine's  Rights  of  Man."    Leslie  Stephen,  Hobbcs,  pp.  205-206. 

'■'■Paradise  Lost,  I,  262.    Cf.  also  II,  1-6,  43  ff,  378,  446,  510. 

This  obnoxious  aspect  of  Satan's  character  was  not  unfclt  and  not  unapplied. 
Bonaparte,  turned  con<|ucror,  was  compared  to  Satan,  and  the  results  to  liritish 
possessions  in  India  from  Bonaparte's  proposed  invasion  of  tlie  l'"ast  were  com- 
pared to  the  residts  of  Satan's  passage  over  the  Bridge  through  Chaos  to  the 
Karth,  F.yles  Irwin,  Esq.,  Buonaparte  in  Egypt:  or,  An  Appendix  to  the  Enquiry 
into  his  Supposed  Expedition  to  the  East  (i"p8).  Mo.  Rev.,  Jan.,  1799,  109(28): 
U3-U4. 


319]  THE   ROJIANTIC    APPLICATION    OF    MILTON,    1765-1801  227 

were  no  governments,  and  no  need  for  them.  From  these  early  imagi- 
nary and  ideal  conditions,  the  philosophical  politicians  undertook  to 
build  up  various  theories  of  the  origin  and  development  of  society  and 
goverianent,  always  intending  to  show  thereby  the  origin  and  develop- 
ment of  disorder  and  distress.  There  was  a  certain  general  union  be- 
tween these  philosophical  problems  of  social  evil  and  the  great  problem 
of  evil  treated  in  Paradise  Lost,  which  itself  looked  at  the  problem  from 
the  standpoint  of  an  ideal  "state  of  innocence." 

Moreover,  ililton  had  looked  at  the  development  of  social  evils  in 
somewhat  the  same  manner  as  that  of  the  philosophical  radicals,  in 
Adam's  Vision  of  Sin  and  Death  (Paradise  Lost,  Bk.  XI).  Milton  is 
nowhere  to  be  understood  as  being  in  opposition  to  law  and  order,  and 
the  restraints  of  government  righteously  administered.  But  in  this 
Vision,  he  has  attributed  the  evils  of  society  to  the  operation  of  certain 
vicious  principles,  the  same  as  those  which  the  later  radicals  supposed 
to  be  the  vices  of  modern  organizations  of  church  and  state. 

Milton  attributed  the  fruits  of  sin,  in  the  murder  of  Abel,  to  that 
principle  of  religious  "envy"  which  needed  only  to  be  magnified  to 
national  proportions  to  produce  an  Inquisition  (423-470).  Next  Milton 
unfolded  the  Lazar-house  scene,  with  its  melancholy  aspect  of  pain  and 
misei-y,  due  to  the  intemperance  of  high  life  and  fast  living  (471-526). 
After  this,  and  perhaps  with  meaning  in  the  proportions  of  space,  he 
gave  a  brief  view  of  old  age,  and  natural  decay,  as  a  cause  of  death 
(527-554). 

In  the  next  long  section  of  tlie  Vision,  Milton  deals  directly  with 
the  corruption  of  society.  He  always  held  that  the  proper  destiny  of 
the  individual  was  conditioned  upon  the  outworking  of  an  inner  prin- 
ciple of  superior  power.  In  like  manner,  the  happiness  and  true  destiny 
of  society  was  conditioned  upon  the  free  play  of  this  first  principle  of 
life  and  destiny.  In  organized  life,  as  in  the  individual,  the  operation 
of  this  principle  must  be  the  first  concern  of  the  social  unit.  This  prin- 
ciple must  not  be  neglected ;  it  must  not  be  submerged  by  other  engross- 
ing interests.  To  lose  the  proper  emphasis  of  life  is  everywhere  to  open 
the  flood  gates  of  corruption.  With  Milton,  of  course,  the  paramount 
principle  of  life  was  always  a  religious  principle. 

Wlien  Milton  described  the  corruption  of  the  "sons  of  God"  by  the 
"daughters  of  Cain,"  he  attributed  the  result  to  the  highly  "civilized" 
life  that  comes  from  whole  devotion  to  arts  and  sciences,  to  the  neglect 
of  the  higher  and  better  concerns  of  life.  The  .seducers  were  described 
as  dwelling  in  the  pleasant  "tents  of  wickedness;"  and 

Studious  they  appear 
Of  arts  that  polish  life,  inventors  rare; 
Unmindful  of  their  Maker,  though  his  Spirit 
Taught  them. 


228  THE    illLTON    TKADITION  [320 

By  this  class  of  corrupters,  the  "just  men,"  whose  whole  study  was 
to  worship  God  aright,  aud  know  his  works  uot  hid  (578),  were  en- 
trapped, and  that,  however,  only  when  thej-  had  prostituted  "wisdom, 
and  superior  gifts,"  that  had  in  themselves  saving  power  (555-636). 

In  like  manner,  Milton  i)ietured  tlie  standards  of  war  as  equally 
degenerating  (638-710).  Warriors  were  to  him  "death's  ministers,  not 
men!"  (679).  War  was  the  work  of  those  who  hold  that  might  is  right, 
and  increase  their  power  by  the  conquest  and  the  spoils  of  nations. 

In  those  days   might  only  shall  be  admired, 

And  valour  and  heroic  virtue  called. 

To  overcome  in  battle,  and  subdue 

Nations,  and  bring  home  spoils  witli  infinite 

Manslaughter  shall  be  held  the  highest  pitch 

Of  human  glory,  and,  for  glory  done, 

Of  triumph  to  be  styled  great  conquerors, 

Patrons  of  mankind,  gods,  and  sons  of  gods — • 

Destroyers  rightlier  called,  and  Plagues  of  men. 

Thus  fame  shall  be  achieved,  renown  on  earth, 

.And  what  most  merits  fame  in  silence  hid. 

(689-699) 
The  fruitage  of  war  was  eoueeived  to  be  social  distress.    As  a  result 
of  conqtiest,  power,  luxury,  and  consequent  degeneracy,  were  the  por- 
tion of  tlie  mighty,  wliile  slavery  and  degeneracy  were  the  lot  of  the 
conquered. 

In  triumpli  and  lu.xurious  wealth  are  tliey 

First  seen  in  acts  of  prowess  eminent 

And  great  e.xploits,  but  of  true  virtue  void ; 

Who,  having  spilt  much  blood,  and  done  much  waste, 

Subduing  nations,  and   achieved  thereby 

Fame  in  the  world,  high  titles,  and  rich  prey. 

Shall  change  their  course  to  pleasure,  ease,  and  sloth. 

Surfeit,  and  lust,  till  wantonness  and  pride 

Raise  out  of  friendship  hostile  deeds  in  peace. 

The  conquered,  also,  and  enslaved  by  war. 

Shall,  with  their  freedom  lost,  all  virtue  lose, 

And  fear  of  God.  (788-799). 

Milton  also  regarded  wealtli  itself  as  potentially  at  least  a  great 
source  or  cause  of  social  degenera(!y.  The  result  is  inevitable,  when  men 
turn  from  Ihe  liighcr  idc^als  of  lifi'.  Thru  wealth  heeonu's  a  coi'i'upter 
of  men  and  nations. 

h'or  the  Earth  shall  lio.ir 
More  than  enough,  that  temperance  may  be  Iricil. 
So  all  shall  Uirn  degenerate,  all  depraved. 
Justice  and  temperance.  Irulh  and  faith,  forgot. 

(804-807). 


321]  THE   ROMANTIC    APPLICATION   OP    MILTON,    1765-1801  229 

All  this  Vision  in  Milton  sounds  very  much  like  the  schedule  of 
social  development  laid  out  for  the  Race  by  philosophical  politicians, 
who  insisted  upon  viewing  the  problem  from  the  standpoint  of  an  origi- 
nal perfect  "state  of  nature."  In  their  thought,  society  grew  worse 
as  it  became  more  complicated.  Political  governments  and  ecclesiastical 
orders,  with  their  conquests  and  inquisitions,  were  the  instruments  of 
oppression  and  tj'ranny.  The  rise  of  kings  and  priests  meant  luxury 
on  the  one  hand,  and  slavery  on  the  other,  with  degeneracy  on  both. 
Society,  in  the  modern  sense,  enthroned  custom,  the  conventional,  instead 
of  conscience,  as  the  control  of  life.  Civilization  fosters  crime.  Wealth 
centralized  in  the  hands  of  an  individual  leads  to  power,  oppression,  in- 
temperance, and  degeneracy,  on  the  one  hand,  and  to  poverty  and  crime, 
on  the  other.  The  first  great  champion  of  these  general  views  was  Jean 
Jacques  Rousseau,  in  liis  Arts  and  Sciences  (1750),  and  Rousseau  was  a 
student  of  Paradise  Lost.''"  So  also  were  Godwin,  and  others,  who  advo- 
cated the  same  idea  of  a  return  to  "nature''  in  order  to  develop  the 
rights  and  wrongs  of  men. 

But  the  philosophical  radicals,  on  the  positive  side  of  their  theories, 
looked  forward,  even  more  than  backward.  They  felt  that  the  demo- 
cratic form  of  government  was  the  only  form  that  could  be  tolerated, 
and  they  believed  that  that  form  was  soon  to  be  adopted.  They  were 
convinced  that  the  doom  of  monarchies  was  near  at  hand,  and  that  the 
Golden  Age  of  Liberty  was  beginning  to  dawn.  Their  dreams  of  the 
new  world  of  Liberty  were  greatly  influenced  by  the  earlier  dreams  of 
Milton.  At  his  feet,  England,  and  even  the  Continent,  had  taken  many 
lessons  in  the  principles  and  outlines  of  a  free  Church  and  State,  of 
free  thought  and  expression.  The  outworking  of  those  principles  in 
England,  and  more  openly  in  France,  directed  those  nations  to  the  larger 
liberties  whicli  were  realized  in  the  Nineteenth  Century.  Few  forces 
have  ever  been  more  fruitful  in  th(>  cause  of  larger  liberty  than  the 
ideal  dreams  of  Milton. 

Pi'ofessor  Dowden  has  already  been  quoted  (Chapter  I,  p.  21)  as 
saying  that  Milton's  "influence  on  thought,  appearing  at  irregular  in- 
tervals, but  always  associated  witli  political  liberalism  or  radicalism," 
was  connected  chiefly  "with  his  Prose  Writings."  But  it  would  seem 
indeed  that  proportions  of  Milton's  influence  can  never  be  determined 
with  a  great  degree  of  certainty.  His  Prose  Writings  were  undoubtedly 
influential,  as  appears  from  the  number  of  times  in  which  some  portions 
of  his  Prose  were  published  during  the  rise  of  radicalism.  But  during 
the  period  of  the  French  Revolution    (1788-1801),  Paradise  Lost  ap- 

^^Joseph  Texte.  Jean  Jacques  Rousseau  n)id  the  Cosnw[>olitan  St'irit  in  Litera- 
ture, pp.  Ill,  359. 


230  THE    MILTON    TRADITION  [322 

peared  in  no  less  than  twenty-one  editions, — which  represented  a  demand 
for  the  Poem  scarcely  precedented  in  the  history  of  its  publication. 

The  long,  persistent,  powerful  influence  of  Paradise  Lost  upon  the 
verse-form  of  the  Eighteenth  Century  is  among  the  more  obvious  forces 
that  made  for  Romanticism.  Gradually  the  imitations  of  his  blank 
verse  multiplied,  and  rose  to  the  popular  heights  of  Thomson,  Young, 
and  others,  by  the  middle  of  the  century.  Gradually  his  critical  authority 
in  The  Verse  was  recognized  and  observed.  Gradually  the  idea  of  verse 
structure  conformed  to  his  own  liberal  conceptions.  IVIuch  of  this  prog- 
ress of  liberal  versification  was  due  to  the  influence  of  Furadisc  Lost, 
whieli  did  more  than  any  other  single  source  of  influence  toward  the 
overthrow  of  tlie  coxiplet. 
.  After  the  powerful  support  of  blank  verse  in  the  long  poems  prior 

^>4o  1765,  and  in  the  critical  authority  of  Warton,  Young,  Webb,  and 
others,  the  strength  of  the  couplet  was  broken,  ami  rliyme  was  limited, 
in  progressive  thought,  to  the  sphere  of  the  smaller  kinds  of  poetry. 
This  last  period  of  the  century  (ITGH-lSOl  ^  ojx'ned,  therefore,  with  a 
feeling  of  confidence  in  the  triumph  of  the  blank  verse  movement,  of 
which  Milton  was  still  regarded  the  central  influence. 

. Tliere  was,  on  the  wliole,  a  persistent  movement,  throughout  this 

perioil,  toward  liberalism  in  versification.''  The  critical  opinions  of 
Young  and  others,  in  the  precetling  period,  re-inforeed  by  an  immediate 
appeal  to  Milton,  were  widely  received  as  the  highest  authority.  Dr. 
James  Beattic  (1735-1803),  who  figured  much  in  the  public  eye  because 
of  his  F'jssaij  on  Truth  (1770),"'*  a  work  which  has  an  aggregate  of 
seventy-five  pages  devoted  to  Paradise  Lost,  declared,  in  that  popular 
Treatise,  that  regularity  and  rhyme  were  not  essential  to  poetry,  and 
that  the  pi'oper  use  of  rhyme  was  limited  to  a  small  .sphere.''" 

Within  its  proper  limits,  some  regarded  rhyme  as  an  acceptable 
ornament  to  ver.se,  as  in  The  Deserted  Village  (1770),  by  Goldsmith: 
but  a  favourable  critic  of  that  popular  poem  seemed  to  feel  very  keenly 
the  limitations  imposed  upon  rhyme.""  This  feeling  forced  itself,  at 
times,  upon  tliose  wlio  believed  in  gen(>ral  that  rliyme  was  essential  to 
English  i)oetry.  One  such  critic,  who  boldly  tleclared  liimsclf  "'no  friend 
to  blank  vei'.se,'"  ciaild   not  "refuse   (his)    warmest  .ipprdliMtioii''  to  A 

•'■"T.  S.  Oniond,  liiujlish  Mclrisls.  rStli.  and  i<)th.  Centuries.  Oxford  Press, 
1907.  Chapter  II  develops  the  conflict,  and  sliows  a  tendency  toward  liberality  in 
the  direction  of  "The  .Vew  Verse,"  which  lie  discusses  in  Cliapter  III. 

'•'H.  A.  Beers,  /)  Hist.  Of  ling.  Ronitinticisni  in  the  itilh  Cent.,  />/>.  ,?i).'-^05, 
gives  a  brief,  but  delightful,  sketch  of  IBcattie. 

"■'"By  "versification"  he  means  regular  measure.  Essay  on  I  ruth,  i"/.  II,  294, 
302.  He  contended  that  tlie  advantages  of  rhyme  depend  nnich  upon  custom  and 
national  temper.     Cf.  also  pp.  379-383. 

""Cr.  Rev.,  June,  1770,  29  ;4.3S-443- 


323]  THE  ROMANTIC   APPLICATION    OF    MILTON,    1765-1801  231 

Poetical  Essay  on  the  Existence  of  God,  ''which  was  written  in  Milton- 
ics.""  William  H.  Roberts  had,  therefore,  the  support  of  a  widely 
accepted  opinion,  when  he,  in  that  spirited  and  popular  poetical  Epistle 
to  Christopher  Anstey  (1773),  limited  "the  use  of  rhyme  to  elegiac, 
lyric,  and  satiric  poetry.  ""- 

The  influence  of  Milton's  Verse  was  conspicuous  in  the  decade  be- 
tween 1770  and  1780.  Roberts  made  his  appeal  direct  to  Milton,  when 
he  said  (1773), 

No,  not  in  rhyme;  I  hate  that  iron  chain 
Forged  by  the  hand  of  some  rude  Goth. 

(Trib.  is6). 

The  author  of  An  Essay  upon  the  Harmony  of  Language  (1774),"^  dis- 
cussed the  nature  and. specific  differences  between  accent  and  quantity, 
and  illustrated  these  by  a  miiuite  analysis  of  several  passages  from 
Paradise  Lost.  He  "ventured  to  pronounce  rime  very  disadvantageous 
to  heroic  verse;  excluding  numberless  beauties,  giving  none."  The  au- 
thor, who  allowed  a  place  to  rhyme,  and  made  due  allowance  for  "the 
high  merit  of  Pope's  version  of  the  Iliad,"  supported  the  above  claim 
by  reference  directly  to  Milton. 

The  same  direct  appeal  was  made  by  the  Rev.  John  Yourde,  in  his 
Essay  on  th^  Origin  and  Merits  of  Rhyme  (1775).    In  his  zeal  for  the 

""This  Essay  was  the  work  of  Rev.  W.  Roberts.     Cr.  Rev.,  Jan.,  1771,  31  :7l-73- 
6=Roberts,  Wm.  H.   (1745-1791). 

All  Epistle  to  Christopher  Anstey,  Esq.  (1773). 

Return,  my  Muse:  thy  wild,  unfettered  strains, 

Suit  not  the  mournful  dirge.     Rhyme  tunes  the  pipe 

Of  querulous  elegy ;  'tis  rhyme  confines 

The  lawless  numbers  of  the  lyric  song. 

Who  shall  deny  the  quick-retorted  sound 

To  satire,  when  with  this  she  points  her  scorn. 

Darts  her  sharp  shaft,  and  whets  her  venom'd  fang? 

Pent  in  the  close  of  some  strong  period  stands 

The  victim's  blasted  name :  the  kindred  note 

First  stamps  it  on  the  ear;  then  oft  recalls 

To  memory,  what  were  better  wrapt  at  once 

In  dark  oblivion.     Still  unrivalled  here 

Pope  thro'  his  rich  dominion  reigns  alone : 

Pope,  whose  immortal  strains  Thames  echoes  yet 

Thro'  all  his  winding  banks.    He  smoothed  the  verse, 

Tuned  its  soft  cadence  to  the  classic  ear 

And  gave  to  rhyme  the  dignity  of  song. 
Cr.  Rev..  Jan.,  1773,  35:52-54.     Mo.  Rev.,  Feb.,  1773,  48:145-148. 
«3Reprinted,   with    slightly   varied   title,    1804,    as    the   work   of   Wra.   Mitford. 
Cr.  Rev.,  .Aug.,  1774,  38:137-143- 


232  THE    MILTON    TRADITION  [324 

liberal  form  of  versification,  he  "disdainfully  rcnouiict'S  the  shackles  of 
rhjine"  in  his  Translation  of  the  Adventures  of  Telemachus  (ITTS).'* 
Thomas  Sheridan,  in  his  popular  Lectures  on  the  Art  of  Reading  (1775, 
1781),  seems  to  have  regarded  Milton,  especially  in  Pai-adise  Lost,  as 
the  ultimate  authoritj'  on  English  versification.  In  Part  II  of  these 
Lectures,  which  deals  with  "The  Art  of  Reading  Verse,"  Sheridan 
examined  the  present  state  of  English  prosod.y,  affirmed  that  English 
verse  is  composed  of  feet  by  accent,  and  declared  that  none  but  Milton 
and  Dryden  had  gone  into  the  mystery  of  numbers.  Thi>  "admired 
verse"  (of  all  others)  "proceeds  whollj'  from  the  ear  and  imitation." 
But  he  showed  a  decided  preference  for  ]\Iilton,  drew  heavily  upon 
Paradise  Lost  for  poetic  materials,  and  applauded  the  richness  and 
variety  of  Milton's  measures  above  those  of  all  other  English  poets.'"' 

This  forward  movement  was  not,  however,  without  a  measure  of 
discouraging  opposition.  There  was  a  sort  of  sunset  glow  of  the  couplet 
about  the  end  of  the  third  (juarter  of  the  eentmy.  Certain  poems  in  the 
couplet,  as  Goldsmith's  Deserted  ViUage  (1770)  and  Anstey's  New  Bath 
Guide,  were  very  popular,  and  much  imitated.  The  reactionary  feeling 
was  strong  in  some  quarters,  and  seems  to  have  had  an  influence  upon 
James  Macphersou  (1736-1796),  whose  earlier  Celtic  interests  had  been 
emphatically  Romantic.  In  1773,  he  published  a  new  edition  of  the 
Poems  of  Ossian,  and  seems  to  have  half  ajjologized  for  having  "yielded 
to  the  judgment  of  others  in  a  mode  which  presented  freedom  and  dig- 
nity of  expression,  instead  of  fetters  which  cramp  the  thought,  whilst 
the  hai'moiiy  of  lar.guage  is  preserved."  He  felt  constrained  to  justify 
the  want  of  rhyme,  by  arguing  the  gain  in  simplicity  and  energy."" 

Four  years  earlier  (1769),  Owen  Ruft'head  had  published  his  Life 
of  Alexander  Pope,  in  which  he  professed  to  find  some  who  preferred 
Pope  to  Milton.  The  Critical  Review,  eonnnenting  on  this  observation, 
was  (piite  certain  that  some  with  such  tastes  might  be  found.""  The 
Monthhf  Review,  which  seems  at  times  to  have  antedated  Saintbury's 
antipathy  to  all  eighteenth  century  blank  verse,  sometimes  threw  its 
influence  heavily  on  the  side  of  the  couplet. 

"^Cr.  Rev.,  July,  1775,  40:82. 

^■•Lectures  on  the  Art  of  Reading.  Part  II,  p.  223  and  passim.  Cf.  also  tlie 
Cr.  Rev.,  July,  1775,  40:37-45,   for  a  popular  summary  of  this  work. 

'^"The  Pnems  of  Ossian,  -'  vols.  A'rtc  rrf.,  /",?.  Sec  ed.  1807.  Preface,  dated 
Aug.  13,  177X  pp.  V,  vi. 

<"Cr.  Rev.,  April,  1769,  27:280-280,  This  view  of  Pope  may  well  be  contrasted 
with  that  in  the  criticism  of  Gilbert  Wakefield's  Obs.  on  Pnpc  (1796).  Wakefield 
was  himself  a  Pope  enthusiast.  lUit  the  Critical  Review  (March,  1796,  n.  s.  2:257- 
26.1)  says,  "We  confess  that,  when  he  puts  the  invention  discoverable  in  the 
Dunciad,  on  a  par  with  that  of  Paradise  Lost  ....  we  rather  Zi'ondcr  lli:iii  ap- 
plaud." 


325]  THE   ROMANTIC    APIM.ICATION   OP   MILTON,    1765-1801  233 

Among  the  strongest  personal  forces  in  this  movement  of  antago- 
nism to  liberal  versification,  was  Erasmus  Darwin  (1731-1802).  At 
heart,  he  seems  to  have  hated  all  blank  verse.  Like  Johnson,  Darwin 
direeteil  his  antipathies  toward  the  fountain  head  of  the  liberal  move- 
ment. He  might  tolerate  the  more  regular  blank  verse  of  Akenside,  but 
not  that  of  Milton.  Darwin  hated  all  sonnets,  and  especially  those  of 
Milton.  His  poetical  creed  was  regularity  and  rhyme,  to  which  he 
would  add  polish  and  sonorous  effects.  In  1781,  Darwin  proved  the 
courage  of  his  convictions  by  publishing  his  ambitious  work,  The  Botanic 
Garden,  a  poem  of  4,334  lines,  in  the  most  orthodox  type  of  heroic 
couplets.  His  ambition  was  to  erect  a  poetical  monument  that  should 
eclipse  the  glory  of  Pope,  by  improving  upon  his  versification  along 
the  lines  of  polish  and  sonorous  qualities."^ 

Miss  Anna  Seward  contributed  the  Exordium  for  this  poem  as  early 
as  1778.'*"  While  in  the  process  of  preparation,  the  poem  seems  to  have 
been  talked  of  to  some  extent ;  and,  having  been  thus  advertised  before- 
hand, the  poem  met  with  a  generous  applause.  Dr.  Johnson  may  have 
deliberately  taken  advantage  of  this  momentary  revival  of  the  old  poet- 
ical form  and  spirit  for  his  political  attack  upon  Milton  (1779),  whose 
influence  upon  versification  had  been  more  than  a  match  for  the  couplet. 

Johnson's  attack,  however,  only  served  to  rouse  the  liberal  forces, 
who  had  not  all  slept  meantime,  nor  wanted  confidence.  Mason,  who 
recognized  that  blank  verse  "was  growing  much  out  of  Vogue,"  deliber- 
ately wrote  his  English  Garden  (1781)  in  that  measure.'"'  Knox,  who 
seems  to  have  preferred  rhyme,  affirmed,  with  an  eye  on  Dr.  Johnson, 
the  presence  of  "an  unreasonable  prejudice  entertained  against  blank 
verse,  by  those  who  wish  to  dictate  on  the  subject  of  criticism,"  and 
ascribed  to  this  prejudice  the  unpopularity  of  Mason's  English  Garden.''^ 
About  the  time  that  Johnson  was  meditating  his  attack,  Alexander  Kel- 
let  thundered  into  the  camp  of  the  couplets  the  following  piece  of  dog- 
matism, which  the  Critical  Review  seems  to  have  quoted  with  special 
delight  at  this  time.  After  discussing  the  fundamental  distinctions  be- 
tween prose  and  verse,  Kellet  said : 

"In  an  age  of  ignorance  an  expedient  turned  up,  that  so  obviously  distin- 
guished prose  and  poetry,  as  to  lay  claim  for  a  time  to  constitute  the  essential  of 
the  last;  and  that  was  the  Gothic  invention  of  rhyme.  (Then  he  described  this 
"barbarian   adjunct   to   verse"   in   a   long  quotation    from   Milton's   Preface.)      For 

"^F.  Hitchman,  Eighteenth  Century  Studies,  p.  379. 

o^Dict.  Natl.  Biog.,  Anna  Seward  (1747-1809). 

'"Wm.  Mason,  The  English  Garden.  "Postscript."  Quoted  in  the  Mo.  Rev., 
June,  1782,  66:413.     Appendix. 

'Wicessimus  Knox  (1752-1821).  On  the  Prevailing  Taste  in  Poetry  (1779). 
Essays  Mora!  and  Literary.    No.  129. 


234  THE    MII.TOX    TRADITION  [326 

though  they  be  not  wanting  who  would  make  tlie  liitting-off  of  rhymes  an  affair 
of  genius,  it  is  strictly  a  matter  of  memory ;  of  which  he  who  knows  all  the 
chiming  words  in  a  language  must  be  a  complete  master;  and  Bysshe's  rhyming 
dictionary  is,  with  us,  a  very  convenient  supplement  to  less  tenacious  heads. "'- 

The  violence  of  Johnson  brought  Cowper  at  once  to  the  defence  of 
Milton's  more  liberal  versification.  Cowper  informed  the  public,  with 
proof  out  of  Johnson's  own  mouth,  that  the  great  Dictator  could  not 
read  blank  verse."  Cowper's  Tabic  Talk  (Written  1780-1),  Leslie  Ste- 
phen considers,  "in  the  attack  upon  Pope's  smoothness  and  the  admira- 
tion of  Churchill  "s  rough  vigour,  the  first  clear  manifesto  of  the  literary 
revolution  afterwards  led  by  Wordsworth.""*  But  most  effective  of  all 
his  arguments  was  Cowper's  Task,  written  in  blank  verse,  and  published 
in  1785,  a  poem  sufficiently  effective  to  start  a  new-  line  of  Milton-Cowper 
imitations. 

In  1781  John  Walker  (1732-1807)  gave  specific  instructions  for  the 
reading  of  blank  verse. '■'■  Tlie  same  year  Sheridan's  Lectures  on  the 
same  subject  were  reprinted.  Tlie  next  year  Dr.  Joseph  Warton  pub- 
lislied  the  second  volume  of  liis  Essay  on  Popi ,  on  the  authority  of 
whicii  Tyrwhitt  suggested,  with  a  touch  of  irony,  that  "one  may  perhaps 
venture  to  avow  an  opinion  that  i)oetry  is  not  confined  to  rhyming 
couplets."""  With  these  rejoinders,  tli(>  victory  seemed  complete,  and 
the  liberal  critics  turn  their  attention  more  directl\-  to  the  stud}'  of 
blank  verse  in  itself,  with  much  less  reference  to  the  old  controversy. 
By  the  end  of  the  century,  John  Aikin  was  complaining  that  the  poets 
of  the   time   were  not  even   conforming   to  the   meclianical   matters  of 

'-A  Pocket  of  Prose  and  I'crsc  (1778).     Cr.  Rev..  Dec,   1778,  46:456-461. 

The  "rhyming  dictionary"  idea  was  in  the  air  at  that  time,  and  seems  to  have 
Been  used  as  a  taunt  toward  the  couplet-writers.  In  1775,  J.  Walker  published 
A  Diet,  of  the  Eiiy.  Lang.,  aiiszi'eriiig  at  once  the  Purposes  of  Rhyming,  S/'elling, 
&"€.  (Cr.  Rev.,  39:116.)  Tliis  work  was  spoken  of  in  1779  as  a  "Diet  of  Rhinics 
for  the  Use  of  Small  Poets."  (Cr.  Rev.,  48:119.)  A  little  later  the  Rev.  John 
Truster  published  Poetic  Endings:  or.  a  Diet,  of  Rhinies,  Single  and  Double.  This 
was  ironically  reviewed  as  a  work  of  "t)enevolence  to  a  set  of  geniuses,  who  fre- 
quently want  a  little  cliaritablc  assisl.'uue,  that  is.  tlu-  minor  poets."  (Cr.  Rev., 
Jan.,  1784,  57:79) 

'■■■Wm.  Cowper  (1731-1800).  To  the  Rc:\  ti'alter  Hogol.  I'cli.  6.  1791.  1  lay- 
ley's  Life  of  Cowper,  l8l3.  Ill,  270-271.  He  allowed  rhyme  t"  lie  a  "part  of  tlie 
conceit"  in  smaller  poems.  Corresp.  with  Lord  Thurlow.  Hayley's  Life,  III,  346- 
355.  To  The  Re-t'.  IFalter  Bagot,  .Xug.  31,  1786;  Jan.  4,  1791.  Hayley's  Life,  III, 
29-30,  264. 

'^Dictionary  Xational  Biography.     "Cowper". 

"'•F.lemcnts  of  Elocution,  J  vols.  lySi  and  1791).  Mo.  Rev..  Aug..  1781  :  Jan., 
1800. 

'"Letter  prefixed  to  Warton's  Essay  on  I'ope.    5th  cd.     Vol.  I. 


327]  THE  ROMANTIC   APPLICATION   OF    MILTON,    1765-1801  235 

spelling,   punctuation,   &c. — all   of  which   was   looked   upon   by   him   as 
liberty  run  riot." 

The  total  influence  of  Milton 's  Verse-Form,  as  it  shaped  itself  under'A 
these  contlitions,  appears  in  at  least  five  different  forms.  (1)  As  a  war-  ^ 
cry.  The  Romantic  element  rallied  around  Milton,  and  cultivated  his 
verse-form  as  an  effective  medium  of  expressing  antipathy  to  neo-elas- 
sieism.  (2)  As  a  standard  of  excellence  in  the  technique  of  versification.  / 
The  harmonies  of  Milton's  blank  verse  became  the  goal  of  poetic  ambi- 
tion, and  the  touchstone  of  learned  criticism.  (3)  As  an  expression  of 
authoritj-.  This  involves  the  dicta  of  Milton "s  "Preface,"  made  good 
by  the  example  of  his  Poems.  Here  is  a  contradiction,  but  such  is  life 
in  many  of  its  expressions.  Even  the  radical  Romanticist  would  bow 
to  the  authorit}^  of  Milton,  when  he  declared  rhyme  the  invention  of  a 
barbarous  age.  Where  the  heart  is,  there  obedience  follows  and  author- 
ity is  not  a  burden.  Besides  this,  the  very  bigness  of  Milton  carried 
conviction,  precluding  the  possibility  of  mistake,  as  it  would  appear  to 
his  devotees.  (4)  As  a  pattern  for  imitation.  Under  the  influence  of 
Milton  there  was  a  very  large  volume  of  blank  verse,  whose  highest 
peaks  of  excellence  were  sufficiently  elevated  for  permanent  recognition. 
(5)  As  a  sanction  of  poetical  license  in  matters  of  form.  Milton  was 
not  under  the  laws  of  poetry,  for  he  enjoyed  the  liberty  of  a  great 
creative  genius.  But  this  very  superiority  served  as  a  sanction  for  some 
to  abandon  all  restraints  that  hindered  the  free  expression  of  the  multi- 
form Romantic  feelings.  This  amounts  again  to  a  contradiction — that 
of  looking  to  authority  for  sanction  of  a  revolt  against  the  restraints  of 
authority.  But  the  impulse  of  this  principle  produced  much  that  is 
wild,  vague,  and  incoherent,  as  well  as  some  excellent  original  work  in 
the  Romantic  Movement.  _^ 

In  the  field  of  literary  criticism,  Milton  was  considered  by  many  a; 
a  standard  of  excellence.'*     He  was  set  bj'^  the  side  of  Homer,"" 
sometimes  above  the  Grecian  Bard  (cf.  Tributes).    There  was  among  hii 

'■John  .^ikin,  Letters  of  a  Father  to  His  Son  (1798-1799).  Letter  v.  On  tlie 
Taste  for  Poetry.    Vol.  II,  p.  259. 

'"Milton  was  also  regarded  as  an  autliority  on  the  early  conditions  of  poetry, 
as  portrayed  in  P.  L.  On  the  antiquity  of  the  pastoral  muse,  Greene  says,  "Whether 
the  patriarchs  of  old  with  our  parents  in  Milton  piously  broke  out  into  the  praise 
of  the  Creator,  or  reflected  in  silence  on  the  beauties  of  the  earth,  their  hymns, 
or  their  meditations,  must  have  been  purely  pastoral."  An  Essay  on  Pastoral 
Poetry,  prefixed  to  the  Idylliuins  of  Theocritus,  Translated  by  Fatckcs  (1767). 
Chalmers,  Eng.  Poets,  20:166-169. 

"^Rev.  Richard  Polwhele.  An  Essay  on  the  Comparative  Learning  and  Moral- 
ity of  the  Ancients  and  Moderns.  Appended  to  Discourses  on  Different  Subjects 
(jnd.  ed.,  lygr)-     Cr.  Rev.,  .\ug.,  1791,  .368-373. 


236  THE    MILTON    TRADITION  [328 

'^devotees  a  strong  feeling  of  impatience  with  any  attempt  to  write  Milton 
Idoivn.^"  The  widely  prevailing  opinion  was,  that  "If  any  glance  of 
/mortal  Ken  could  soar  from  earth  to  heaven,  or  penetrate  the  mysteries 
I  of  other  worlds,  it  may  fairly  be  pronoiineed,  even  by  English  critics, 
I  without  any  imputation  of  partiality,  that  the  poet  of  Paradise  possessed 
Lthe  peculiar  power."*' 

The  poet  and  the  poem  that  had  attained  this  emiiieiiee  were,  with 
several  important  critics,  thfe  basis  for  measiiring  poetic  values  in  the 
works  of  others.  The  Critical  Review,  recognizing  that  most  writers  of 
blank  verse  M'ere  seriously  striving  to  imitate  Milton,  attempted  fre- 
quently to  determine  to  what  extent  these  writers  had,  or  had  not,  at- 
tained the  qualities  of  Milton's  verse.  Paradise  Lost,  as  a  basis  for  verse 
criticism,  was  the  out-working  of  Milton's  Preface  on  ver.sification,  pre- 
fixed to  the  Epic,  and  the  two  were  usually  thought  of  together.  To 
this  high  autliority,  as  a  hypothetical  basis  upon  which  to  censure  the 
works  of  Spenser,  Dr.  Johnson  made  an  appeal  in  1751.  "If  it  bo  justly 
observed  by  Milton,"  argued  the  Doctor,  "that  rhyme  obliges  poets  to 
exj)ress  their  thouglits  in  improper  terms,  these  im])r()prieti('s  must 
always  be  multiplied,  as  the  difficulty  of  rhyme  is  increased  by  long 
concatenations. '  '^- 

Thomas  Warton,  in  liis  Histortj  of  English  Poetry,^^  extended  the 
application  of  tliis  Miltonic  standard  to  the  subject  of  Englisli  poetry. 
Warton "s  references  to  Milton  are  many;  and,  so  far  as  Ilazlitt's  "In- 
dex" (ed.  1871)  sliows,  they  are  all  to  Paradise  Lost,  except  two,  which 
are  to  Comus.  William  J.  Mickle,  who  piiblished  his  Translation  of  the 
Lnsi-ad  of  Camoens  (1775),  included  among  other  tilings  in  the  Prefa- 
tory jMatters  of  that  jjerformance,  A  I)iss(  rtation  on  the  Lnsiad,  and 
Observations  upon  Epic  Poetry.  In  this  discussion,  he  practically  meas- 
ured the  Lusiad  of  Camoens  by  the  Paradise  Lost  of  Milton.'*''  In  a  less 
pretentious  manner,  William  jMason,  who  observed  that  Milton's  father 
and  Gray's  were  of  the  same  calling  ("a  money-scrivener"),  subjected 
Gray  to  the  standards  very  largely  of  Paradise  Lost,  in  his  edition  of 
Gray   (1775).'''     Even  the  diction  of  Milton's  Epic  became  a  standard 

'"An  offense  of  tliis  kind,  in  his  Illi'iiu'ittary  Priiui/'li's  of  the  Belles  Lcltrcs, 
Translated  from  lite  French  by  the  late  Mr.  Slof<er  1-oreinan  (1766),  was  held  to 
prove  M.  Formey  unqualified  to  treat  the  suhject  he  had  in  hand.  Cr.  Rev.,  July, 
1766,  22:50-55. 

*'7"/ir  Indian  Observer,  Nos.  20  and  34.  Drake's  Gleaner,  vol.  IV,  No.  168, 
p.  255.    On  the  Power  of  Music. 

*'^Thc  Rambler,  No.  121,  May  14,  1751.     Works,  tSi},  11.  5. 

''Thomas  Warton,  Hist  of  Eng.  Poetry.    Vol.  I,  1774;  II,  1778;  III,  1781. 

"'Chalmers,  Englisli  Poets,  21 :6o6-624. 

■•'Cf.  the  Foot-notes,  and  the  Cr.  Rev.,  May,  1775,  39:378-388. 


329]  THE   ROMAXTIC    APPLICATION   OF    MILTON,   1765-1801  237 

for  poetry,  and  was  praised  for  having  the  simplicity  of  common  life^ 

The  great  literary  influence  of  Paradise  Lost  lies  chiefly  in  its  mani- 
fold contact  with  the  inner  spirit  of  Romantic  literature  and  literary, 
interests.     This   unicpie   poem,   sublime,   moral,   universal,    imaginative, [ 
mystical,   was   remarkably   fitted   to   touch   effectively   all   sides   of   thel 
re-awakened  literary  spirit  of  the  Age. 

The  wide  interests  in  this  poem  fell  directly  into  the  full  currents 
of  the  literary  movement.    The  Oriental  element  in  the  Epic  is  obvious 
ind  was  not  unobserved.    Its  earthly  setting  was  in  the  romantic  regions 
of  Eden.    Its  coloring  and  gorgeous  splendor  are  largely  from  the  East. 
Its  inexhaustible  wealth  of  Allusion  points  frequently  in  the  same  direc- 
tion.    These  features,  quickened  the  romantic  imagination  into  a  glow 
and  formed  an  immediate  contact,  stimulative,  if  not  actually  productive, 
with  the  strong  current  of  Orientalism,  which  came  in  early,  and  per 
sisted  throughout  the  century. 

One  aspect  of  Orientalism  that  had  more  tlian  common  interest  was 
that  of  the  Eastern  gardens.  Those  paradises  had  a  romantic  interest 
of  their  own.  That  interest  was  deepened  by  their  constant  association 
with  Milton's  Eden.  That  interest  was  translated  into  practical  life 
through  the  influence  of  Oriental  gardens  upon  English  landscape 
gardening,  an  activity  upon  which  Milton's  Eden  exercised  considerable 
direct  influence.*'  Thus  the  circle  of  intei-est  was  completed,  and  made 
trebly  strong,  between  Milton  and  this  phase  of  Orientalism. 

Milton,  Gothic,  and  Medieval  Romances  belong  in  something  of  the 
same  manner  to  the  romantic  world  of  the  imagination.  There  is  a 
strong  affinity  between  some  of  the  "most  inflamed"  passages  of  Milton 
and  the  Gothic  spirit  in  chivalry.  This  affinity  was  felt  in  the  Eighteenth 
Century,  as  Professor  Beers,  who  speaks  with  authority  on  the  Revival- 
elements  of  Romanticism,  has  very  well  pointed  out.*'  The  pseutlo- 
classical  attitude  toward  the  Gothic  strengthened  its  early  alliance  with 
tlie  Romantic  tendencies;  while  Milton's  Romantic  predilections  for  the 
Gothic  brought  him  and  the  Gothic  Revival  close  together. 

The  connections  between  Milton  and  the  Revival  of  Medieval  Ro- 
mances were  close,  and  probably  fruitful.  Milton's  literary  tastes 
inclined  him  early  in  life  toward  this  romantic  world  of  imagination. 
■'I  betook  me,"  he  wrote  in  An  Apology  for  Smectymnuus,  "among  those 
lofty  fables  and  romances  which  recount  in  solemn  cantos  the  deeds  of 
knighthood."  Deeply  interested  in  this  poetical  wealth,  he  meditated  the 
Artlmrian   Legends   as   the    subject   of   his   own   proposed   masterpiece 

s^Wm.  Roberts  (1767-1849).  The  Looker-On.  No.  78.  Nov.  9,  1793.  British 
Essayists,  1823,  37 ;  X'o.  78.  S.  T.  Coleridge,  Biograf'hia  Literaria,  ed.  Sliedd,  Vol. 
Ill,  Chap.  xvii. 

'^Appendix  I,  p.  268. 

*M  Hist,  of  Eiig.  Roinanticisin,  22^-22y. 


s 

t. 

t7 


238  THE    illLTON    TRADITION  [330 

(Ma)tsus,  lines  80-84,  162-168).  This  subject  was  finally  given  up  for 
Paradise  Lost,  which  is  essentially  a  larger  Romance,  with  a  limitless 
imaginative  and  other-world  appeal. 

But  the  "'matter  of  Britain,'"  as  Professor  Beers  has  very  well 
pointed  out,  never  lost  its  fascination  to  IMilton,  and  re-appeared  in  both 
of  his  Epics.*"  In  Paradise  Lost,  one  may  find  such  stimulating  ref- 
erences as, 

What  resounds 
In  table  or  romance  of  Uther's  son; 
Begirt  witli  British  and  .\rmoric  kniglits ; 
And  all  who  since,  baptized  or  infidel, 
Jousted  in  .'\spraniont,  or  Montalban ; 
Daniasco,  or  Marocco,  or  Trebiscond; 
Or  whom  Biserta  sent  from  Afric  shore 
Wlien  Cliarlemain  with  all  liis  peerage  fell 
By  Fontarabbia."  (Book  I,  579-587). 

Or,  in  Paradise  Regained,  where, 

Faery  damsels  met  in   forest  wide 
By  knights  of  Logres,  or  of  Lyones, 
Lancelot,  or  Pclleas,  or  Pellenore." 

(Book  II,  359-361). 

The  supm-natural  in  .Milton  was  always  prominent,  and  the  fairy- 
land world-of-romaiiee  eliaraeter  of  Paradise  Lost  was  sometimes  re- 
garded as  a  blemish  in  the  Epic.  In  view  of  this  feeling,  and  the  avidity 
with  which  tlie  details  of  Milton  were  even  curiously  studied,  such  con- 
necting links  between  him  and  Medievalism,  as  those  cited  above,  must 
liave  been  very  stinudating  to  the  reviving  interest  in  that  Middle  Age 
world  of  the  imagination. 

Paradise  Lost  was  not  witliout  considerable  influence  upon  the  de- 
scriptive tendencies  in  Romantic  poetry.  The  volume  of  descriptive 
poetry,  in  both  tlie  great  schools  of  versification,  was  increasingly  im- 
mense. The  pseudo-classical  faction  found  their  constant  model  in 
Cooper's  Hill  (1642),  by  Sir  John  Denham  (1615-1669).  This  poem,  in 
heroic  couplets,  represented  the  poet  as  looking  out  from  an  eminence 
upon  the  surrounding  country,  and  river,  and  eity.  Tlie  poem  was 
popular,  and  the  scheme  of  description  was  often  repeated  in  the 
Eighteenth  Century.  But  the  romantic  .spirit  of  wildness,  coupled  with 
that  of  lilicralism  in  verse-form,  found  e.xeellence  and  inspiration  in  the 
descriptivr  i)()rtions  of  Paradise  Jjost.  The  tendency  of  tills  intluence  was 
toward  a  union  with  mysticism,  and  a  mystical  iiitcrpretation  of  external 

'"Same,  pp.  146-147. 


331]  THK   ROMANTIC    APPI.ICATION    OF    MILTON,   1765-1801  239 

nature.  More  ami  moi'e  it  became  the  Miltonic  sun,  far  off  at  times  but 
still  effective,  that  warmed  the  romantic  landscape  with  the  glow  of 
poetry. 

But  deeper  than  anything  yet  mentioned,  was  the  qiiickening  influ- 
ence of  Milton's  Epic  upon  the  very  spirit  of  poetry.  The  spirit  of 
Paradise  Lost  permeated,  as  far  as  the  shackles  would  allow,  the  serious 
heroic  couplets  of  the  age.  Any  one  may  feel  that  spirit  while  reading 
such  poems  as  Boyse's  Deity  (1739),  or  almost  any  other  religious  or 
moral  poem  of  the  Eighteenth  Century.  Among  the  Romantic  poets,  the 
kindling  power  of  Milton's  inuigination  was  immeasurable. 

Here  is  one  of  the  most  fundamental  and  important  differences~Be' 
tween  the  influence  of  the  Minor  Poems  and  that  of  the  Major.  The  Minor 
Poems  influenced  mainly  the  outward  form  and  expression  of  sentiments 
that  were  already  strong  in  the  nation  before  these  Poems  emerged  into 
prominence.  But  the  influence  of  the  Major  Poems  reached  and  quickened 
the  secret  springs  where  poetry  is  generated  and  whence  it  flows.  Lim- 
ited to  the  question  of  form,  the  molding  influence  of  the  Epic  far  ex- 
ceeded that  from  the  Minor  Poems,  whether  the  comparison  have  refer- 
ence to  volume  or  quality.  But  any  definite  measurement  of  quality  is 
obviously  impossible ;  for  the  poetic  spirit  of  many  imitations  of  the 
Minor  Poems  came  directly  from  the  quickening  influence  of  Milton's 
Epic.  This  is  strikinglj'  evident  in  Collins,  and  Gray,  and  often  in  the 
Wartons,  and  almost  always  in  Ogilvie,  and  Beattie,  and  Mason.  It  is 
the  hand  of  Pcttseroso,  to  be  sure ;  but  the  voice  is  that  of  Paradise  Lost, 
often  faint,  but  unmistakable  nevertheless.  A 

Romanticism  always  exalted  the  imaginative  element  in  literature,   I 
and  a  large  influence  in  this  direction  came  from  Paradise  Lost.    Milton,  | 
in  theory,  practice,  and  inspiration,  comes  more  and  more  definitely  to  I 
stand   for  the   perfection   of  imaginative   poetry,   as   conceived  by   the/ 
Romantic  school.     This  school  emphasized  the  subjective  and  self-eoi^^ 
scious  elements  in  literature.     Mr.  Dowden  is  quite  right  in  defining 
these  elements  as  relics  of  Puritanism  transfused  through  Paradise  Ijost.^" 
Closely  akin  to  these  was  the  spirit  of  expansiveness  which  characterized 
all  the  ambitious  attempts  of  Romantic  aspiration,  and  demanded  the 
freedom  of  expression  found  in  blank  verse.    This,  too,  may  at  times  be 
traced  to  the  influence  of  Milton  upon  Romantic  feelings.    Much  of  the 
verse  thus  produced  was  very  poor  poetry ;  for  every  soul  kindled  to  a 
glow  by  Milton's  influence  was  not  the  soul  of  a  poet.    Those  who  had 
poetic  genius  had  also  a  measure  of  individuality  that  is  stamped  upon 
their  verse.     In  a  sense,  it  is  correct,  therefore,  to  say  that  the  verse  of 
Thomson,  Young,  and  Akenside,  is  not  the  verse  of  Milton,  and  that 

^"Edw.  Dowden.     Puritanism  and  English  Literature.     Living  Age,  iSqq,  222: 
593-607. 


u 


240  THE    MILTON    TRADITION  [332 

their  thoughts  are  not  his  thovights.  But  it  is  quite  incorrect  to  say  that 
any  aspiring  spirit  of  the  whole  scliool,  wliether  great  or  small,  wrote 
apart  from  the  boundless  influence  of  Jlilton :  and  to  deny  that  the  more 
lofty  tlie  indivi<lual  genius  the  more  he  has  felt  the  real  power  of  his 
matchless  master. 

The  influence  of  Milton  upon  the  didactic  and  purely  religious  ele- 
ment in  the  eighteenth  century  poetry  was  direct,  powi-rful,  and  almost 
entirely  from  Paradise  Lost.  ]\Iilton  stood  for  Aristotelian  conceptions 
of  poetic  art,  that  poeti-y  was  to  please  and  to  instruct,  but  with  the 
heavier  emphasis  upon  the  latter  function.  He  had  but  one  standard  for 
the  poet,  for  poetic  theory,  and  for  poetic  practice.  Within  his  own  soul, 
and  throughout  all  his  Prose  and  Verse,  tlie  reader  is  conscious  of  an 
uncompromising  struggle  between  Milton  and  the  Powers  of  Darkness. 
The  battle  is  ever  in  array.  As  conceived  by  Milton,  the  consecrated 
office  of  the  poet  made  hiin  a  prophet  of  God,  tlie  herald  of  ideals  that 
knew  no  compromise  with  evil. 

As  seen,  therefore,  from  this  angle,  by  the  moralizing  Eighteentli 
Century,  Milton  was  not  only  the  greatest  of  all  poets,  but  he  was  greatest 
very  largely  because  he  was  felt  to  be  the  greatest  preacher  of  right- 
eousness. Gi'adually  the  English  public  had  come  to  this  conviction 
thi-ougli  tile  eontemi)lation  of  JMiltou's  great  social,  political,  and  spiritual 
message  to  the  world.  In  this  capacit.y  Milton  became,  as  in  other  things, 
a  poetic  example  and  inspiration.  To  him,  perhaps  more  than  to  any 
other  single  force,  is  chargeable  tlie  lieavy  moral  yoke  that  was  placed 
.Vil)on  jjoetry  during  the  Eighteentli  Century.  T'nder  his  influence  the 
religious  Parnassus  became  a  theological  seminary  ;  anit  the  poetic  muse 
entered  the  common  walks  of  life  as  a  formal  school-mistress,  discoursing, 
in  endless  blank  verse,  about  the  arts,  and  ornaments,  and  duties  of  life. 
The  tendencies  to  paraphrase  e.xalted  portions  of  Scripture,  to  sermonize 
thereon  in  blank  verse,  and  to  write  endless  moral  and  biblical  epics  in 
the  same  measure,  were  products,  in  part  at  least,  of  the  same  fruitful 
influence. 

Tliis  influence  was  connected  clo.sely  with  that  "high  seriousness" 
of  Milton  "s  ])oetic  art  which  im])ressi'd,  with  increasing  force,  the  develop- 
ing mind  of  Romanticism.'"  Milton  was  a  man  with  a  soul-absorbing 
devotion  to  an  exalted  ideal,  wiiicli  rendered  him  superior  to  the  vicissi- 
tudes of  time  and  place.  This  seriousness  of  art  worked  its  way  gradually 
into  till'  consciousness  of  England  under  the  towering  inlluence  of  Mil- 
ton. Tile  conviction  fouml  something  that  approaches  classical  exjires- 
sion  in  the  following  words  of  Vieesimus  Knox  (1752-1821),  whicli  are  all 

"'It  is  interesting  to  observe  that  Milton  had  a  well  (loliiu'd  "literary  gospel", 
in  the  later  sense  of  that  term.  Had  he  lived  in  tlie  niiuteentli  century,  he  would 
have  taken  his  proper  place  with  a  niessaRe,  among  such  writers  as  Carlyle,  Mill, 
Kingsley,  Newman,  and  ntliers,  who  Iiad  tlieir  various  remedies  for  social  ills. 


333J  THE   ROMANTIC   .VPPLICATION    OP   MILTON,    1765-1801  241 

the  more  interesting  in  that  they  fell,  in  1788,  mid-way  between  Milton 
(d.  1674)  and  Matthew  Arnold  (d.  1888). 

"Let  the  man  of  genius  love  his  muse,  and  his  muse  shall  reward  him  with 
sweet  sensations:  with  pictures  and  images  of  beautiful  nature,  and  with  a  noble 
generosity  of  spirit  which  can  look  down  with  pity,  contempt,  or  total  indifference 
on  patrons  who  have  often  as  little  sense  to  understand,  as  liberality  to  reward 
him."  "Milton  was  poor  and  unpatronized,  and  so  was  Shakespeare,  A  miserable 
pittance  bought  that  poem  which  is  one  of  the  first  honours,  not  only  of  this  na- 
tion, but  of  human  nature.  But  is  it  not  credible,  that  Milton  and  Shakespeare 
had  internal  delights,  a  lu.rury  of  soul,  which  is  unknown  to  the  dull  tribe  who 
are  often  rewarded  with  pensions  and  promotions,  and  which  many  patrons,  with 
all  their  pomp  and  power,  would  envy,  if  they  were  capable  of  conceiving  the 
exquisite  pleasure."^- 

The  explanation  of  Milton's  influence  upon  the  currents  of  eight- 
eenth century  life  which  made  up  the  Romantic  movement  is  not  to  be 
found  in  any  small  vicM',  or  isolated  segment,  of  the  great  work  of  this 
man,  whose  labors  as  politician,  historian,  and  theologian,  were  crystal- 
lizeel  in  the  artistic  hands  of  the  consecrated  poet.  The  secret  of  his 
power  was  the  unity  of  his  message,  the  permeating,  soul-stirring,  life- 
directing  influence  that  arose  from  a  contemplation  of  Milton's  vision 
of  the  moral  order  of  the  viuiverse.  -4 

Milton 's  vision  of  moral  order  lent  itself  readil^_to  Romantic  feel- 
ings. J"Tt  furnished  a  boimdless  progressive  outlet  for  aspirations, 
whether  individual,  social,  or  national.  Milton  was  an  idealist,  a  dreamer 
of  better  days  and  better  things  than  England  had  ever  yet  attained. 
His  power  over  the  Romantic  movement  from  this  point  of  view  was 
inevitable. 

The  ancient  Hebrews  dreamed  upon  their  national  Theocracy,  and 
in  time  saw  the  Shekinah  fill  the  Holy  Temple."'  Greece  had  her  ideals 
of  Beaut}',  dreamed  upon  them,  and  realized  her  destiny  as  the  world's 
example  and  instructor  in  Art.  Rome  dreamed  of  law  and  order,  and 
merged  the  civilized  world  into  one  vast  organization.  The  Renaissance 
had  its  various  dreams,  and  attained  Protestantism,  with  its  various  forms 
of  intellectual  freedom.  England,  too,  had  had  her  Vision,  worked  out 
in  the  long  struggle  that  culminated  in  the  Civil  War  of  the  Seventeenth 
Century,  and  revealed  to  the  nation  through  the  prophetic  insight  of 
Milton,  who  felt  the  universal  significance  of  that  struggle.  He  saw  in 
it  the  struggling  principles  that  make  for  universal  liberty.    Those  prin- 

^-Brit.  Essayists,  iS2y,  vol.  xxix.  No.  4,  p.  35.  Cf.  also  a  criticism  of  Beattie's 
Essay  on  Truth,  which  considered  instruction,  and  not  pleasure  the  "grand  pur- 
pose" of  poetry.     Cr.  Rev.,  March,  1778,  45:185. 

'■T.  Kings,  8:10. 


242  THE    MILTOX    TRADITION  [334 

ciples  he  bodied  forth  in  a  comprehensive  conception  of  liberty,  limited 
to  no  nation,  but  possible  to  all,  which  might  have  brought  England  to 
the  fulfillment  of  her  destiny,  in  teaching  the  world  Liberty,  as  the 
Hebrews  had  taught  Religion,  the  Greeks  Art,  and  the  Romans  Law  and 
Organization. 

But  unheeding  the  lessons  of  history,  England  had  scorned  her 
Vision.  She  erected  altars  to  Baal  and  Ashtaroth  in  the  high  places  of 
politics,  and  went  a-whoring  after  royalty  that  was  stranger  to  her 
Vision.  In  spite  of  warning,  the  Vision  was  lost  to  the  nation ;  and 
"where  there  is  no  vision,  the  people  perish."  Seventy  Years  of  Baby- 
lonish captivity  was  the  result :  seventy  years  of  national  bondage  to  the 
disintegrating  forces  of  death  and  deeaj-.  But  tlie  faithful  remnant 
carried  the  altar-fires  into  the  land  of  depression,  and  kept  them  dailj' 
burning.  They  kept  the  Vision  distantly  iu  sight.  Though  their  harps 
hung  upon  the  willow  trees,  yet  they  "remembered  Zion;"  and  refused 
to  bow  the  knee  to  King  Nebuchadnezzar.  The  Daniels  thundered  the 
old  truth  into  the  courts.  The  Ezekiels,  among  the  conunon  people,  still 
saw  tile  River  of  Life.  Thus  was  the  way  prepared  for  a  voluntary 
return  to  their  national  destiny,  when  the  days  of  evil  were  fulfilled. 

Gradually  the  leavening  power  of  Milton's  Vision  was  felt,  as  the 
nation  cast  about  in  the  depths  for  relief  from  depression.  Gradually  the 
Vision  of  Milton  glowed  more  brightly,  as  the  Miltonic  Sun  rose  in  the 
Romantic  heavens,  and  warmed  the  nation  into  a  newness  of  life.  This  is 
not  claiming  too  much ;  for  the  Romantic  movement  may  almost  be  de- 
fined as  a  returning  of  the  nation  to  tlie  Vision  of  Milton,  with  the  aspi- 
rations that  are  con.sequent  and  correlated  to  his  exalted  conceptions.) 

The  consciousness  of  national  loss  in  the  defeat  of  Puritanism  was 
kept  constantly  alive  in  the  body  of  the  nation.  The  cause  itself  was 
lost,  l)ut  the  leavening  pow(!r  of  its  eternal  principles  required  only 
sufficient  time  to  re-assert  itself  permanently  in  national  life.  Milton 
had  dreamed  of  an  ideal  liepublie,  foundeil  upon,  and  crowned 
by,  the  principles  that  make  for  universal  liberty.  Gradually  the  English 
people  came  to  feel  the  significance  of  this  Vision  as  an  outlet  for  bound- 
less aspiration.  Tlie  deail  nation  aroused  itself  to  try  the  yet  untried 
ideals  of  national  destiny.  The  leaders  sought  assurance  in  similar 
dreams  of  the  jiast.  They  revived  Plato,  Plutarch,  and  More's  Utopia. 
Milton  was  the  logical  antecedent,  if  not  an  immediate  inspii'ntion,  of 
this  rf^working  of  tlu^  dreams  of  the  ]>ast. 

In  tlie  State,  .Milton's  iiitluence  tended  ever  toward  radicalism. 
More  and  more  men  dreamed  of  a  future  Golden  Age  of  Democracy,  and 
.set  themselves  against  kings.  Here  one  may  feel  the  influence  of  Milton's 
arguments  for  liberty,  whicli  hel]ied  to  kindle  the  fires  of  the  I'Veiich 
Revolution.     P>ut  liis  influciu'c  upon  the  Church  is  only  less  obvious  be- 


335]  THE   ROMANTIC    APPLICATION   OF    MILTON,   1765-1801  243 

cause  more  spiritual.  Men  dreamed  also  of  a  Golden  Age  in  religion,  as 
a  result,  it  seems,  in  part  at  least,  of  his  inspiration  who  had  so  vividly 
connected  Heaven  and  Earth  into  one  vast  realm  of  the  free  spirit  of 
man.  This  idea  was  sought  by  some  through  a  deepening  of  spiritual 
life,  and  Methodism  was  born.  Others  saw  its  realization  in  the  widening 
of  church  activities  into  world-evangelism,  and  the  great  Missionary 
organizations  began  to  occupy  foreign  fields.  Others  still  believed  this 
ideal  attainable  by  Divine  Power,  and  connected  Paradise  Regained 
with  the  Millenial  reign  of  Christ,  when  evil  should  be  abolished  from 
the  earth.  A  feeling  that  Milton,  humanly  speaking,  was  an  influence 
in  all  these  forward  movements  pervaded  the  life  and  literature  of  the 
Eighteenth  Century. 

The  scope  of  Milton's  Romantic  conception  of  universal  order  com- 
prehended all  the  relations  and  experiences  of  life,  temporal  and  eternal. 
The  verj'  grandeur  of  his  conception  fired  the  Romantic  imagination. 
Here  is  where  the  substance  of  Milton 's  Prose  Writings  merges  with  that 
of  his  Epics  into  one  great  composite  influence  of  immeasurable  strength, 
and  incapable  of  being  resolved  into  parts  that  are  referable  to  one 
source  of  influence  apart  from  the  other.  In  one  vast  sweep  of  imagina- 
tion, Milton's  Vision  covered  Man's  relations  to  Man  in  State  and 
Church,  and  Man's  relation  to  God  in  the  worlds  temporal  and  eternal./ 
The  very  bigness  of  his  conceptions  counted  for  power.  It  matters  little, 
in  this  connection,  what  man  may  say  about  the  adequacj^  of  Milton's 
views.  Upon  eighteenth  century  life  his  views  fell  with  the  weight  of 
divine  sanction,  and  moved  with  only  a  little  less  authority  and  inspi- 
ration. 

Man's  relations  to  Man  Milton  worked  out  in  the  laboratory  of  civil 
and  ecclesiastical  strife.     These  relations  appeared  first  in  his  contro 
versial  Prose  Works,    pis  system  worked  itself  upward  into  perfection. 
Doubtless  it  was  this  upward  movement  of  his  own  mind  that  led  him 
finally  to  decide  upon  Paradise  Lost  as  the  subject  of  his  great  master- 
piece.    At  first  he   thought  to  treat  the  Romantic  legend  of  Arthur^ 
probabl}'  intending  to  expand  its  shadowy  outlines  into  a  portrayal  of  all 
that  was  permanent  in  the  traditions  of  the  English  people.     But  he 
soon  saw  that  England  was  not  different  from  other  nations.     What 
was  the  Truth  for  her  was  the  Truth  for  all  nations  and  for  all  times. 
His  subject  then  was  Mankind,  and  his  scope  was  Eternity.    While  he] 
directed  the  affairs  of  a  great  nation  torn  with  internal  strife,  and  while! 
he  defined  the  rights  of  Church  and  State,  he  worked  out  the  crowning  \ 
principle  of  Moral  Order.     His  Vision  called  for  a  treatment  of  Man,  | 
and  that  in  his  eternal  relations.     At  first  Milton  thought  to  treat  the  I 
problem  of  Evil  as  a  tragedy.     But  perceiving  soon  the  limitations  of  j 
that  mode  of  expression,  he  rose  to  the  boundless  possibilities  of  an  EpicJ 


244  THE    IIILTOX    TRADITION  [336 

Waud  iu  that  mode  he  taxed  the  powers  of  language  to  body  forth  what  he 
/had  seen  and  felt. 

'■ — ■  /floral   order,   as   conceived   by   Milton,   was   conditioned    upon   the 

'  reign  of  righteousness.     God  was  over  all,  the  Source  of  all  good,  and 

must  be  obeyed.    Departure  from  this  basic  principle  always  brings  dis- 

-  order  and  punishment^Milton  treated  his  universe  as  geo-eentric,  for  the 

purpose  of  exalting  the  dignity  of  ilan.     j\Iilton  laid  out  before  Man 

infinite  possibilities,  qualitied  always  by  a  premium  upon  merit.  Morality 

implies  deliberate  choice  of  the  right.     Moral  order  obtains  when  men 

J  and  angels  serve  God ;  and  when  all  the  machinery  and  influences  of 

\  society  support  the  free  play  of  obedience  in  the  individual.     Order  is 

I  the  universal  reign  of  righteousness,  the  working  out  of  implicit  con- 

I  formity  to  Law.  /Whatever  liinders  this  free  conformity  is  a  disturbing 

I  element  that  should  be   abolished.     Thus  Milton  enthroned   individual 

I  interest  as  the  factor  that  should  determine  the  function   of  Church 

\and  State. 

Tliis  idea  of  obedience  and  conformity  to  law  would  seem  at  first  to 

be  much  in  opposition  to  the  spirit  of  Romanticism.     But  it  is  not. 

With  Milton  the  springs  of  life  and  conduct  are  all  subjective.     Men 

w>onform  to  law  because  they  love  righteousness.     Thus  ililton  not  only 

\  exalts  the  inherent  digiut.v  of  IMan,  but  also  enthrones  the  thoroughly 

■>  Romantic  principles  of  inner  liberty,  which  has,  in  his  thought,  its  highest 

/  compliment  in  being  identified  with  the  love  of  truth  and  right. 

iL  C"*^  J2'  ^lilton's  thought,  sin  means  bondage.     Freedom  and  hai)piness 

/  arise  from  following  tlie  things  that  make  for  righteousness.    Tin*  Reason 

\   is^to  perceive  the_right,  the  lieart  to  love  it,  and  the  wjll_  to  choose  it.    j 

I  Wlicre  these  operate  with  perfect  freedom  and  certainty,  tliere  is  perfect 

I  moral  order.     Besides  its  fatal  consequences,  sin  is  for  the  individual 

/  a  disturhincj  for(i>  that  ojierates  against  his  own  freedom.     Man  must  be 

I   redeemed  to  tluit  inner  fruitful  love  of  the  right.     For  complete  redemp- 

\  tion,  two  worlds  are  necessary,  and  both  under  the  same  principle  of 

order.     Behind  the  veil,  the  Spiritual  World  of  Light  is  fostering  this 

subjective  control ;  and  tlie  WorUl  of  Darkness  is  trying  to  bring  its 

overthrow.     Thus  the  messenger  of  Heaven  instructs  Adam,  anil  Satan 

comes  to  tem])t  Eve.     Those  unseen  powers  came  into  personal  conflict 

in  the  Temptation,  which  yielded  an  assurance  of  complete  trium])h  to 

those  who  would  follow  tlie  love  of  righteousness. 

Church  and  State  were  to  Milton's  mind  only  temjioral  asjieets  of  an 
eternal  order.  Civil  and  ecclesiastical  liberty  were  the  conditions  of 
righteousness,  and,  therefore,  the  natural  i-ight  of  every  man.  Jlen  and 
nations  must  be  self-controlled  by  this  iiuier  i)rinciple  of  liberty.  The 
whole  social,  political,  and  religi(uis  organization  of  life  n\ust  help,  and 
in  no  case  hindi'i-.  this  true  fi-eedom  of  men  to  see,  to  love,  and  to  do  the 


337]  THE   ROMANTIC   APPLICATION   OF    MILTON,    1765-1801  245 

right.  Thus  only  may  men  and  nations  be  self-controlled  from  exalted 
ideals.  These  conditions  Milton  believed  possible  only  under  a  republican 
form  of  government,  whether  in  Church  or  State.  This  form  was  alone 
felt  to  be  consistent  with  free  thought,  and  free  expression  in  word  and 
deed.  For  him  republicanism  seemed  essential  to  the  liberty  of 
righteousness. 

Milton  seems  to  have  felt  that  it  was  the  right  of  the  best  to  bear  the 
rule.  Like  Carlyle,  Milton  objected  not  to  the  hierarchies  that  were 
founded  upon  worth  and  righteousness.  Hierarchies  based  upon  any 
other  principle  were  inconsistent  with  true  liberty.  Bad  kings  and  bad 
priests  were  alike  to  be  dispatched.  Milton  felt  that  the  administration 
in  both  Church  and  State  in  his  day  was  intolerable.  He  therefore  justi- 
fied regicide,  as  a  measure  of  righteousness;  and  he  withdrew  from  the 
Church  for  the  same  reason.  He  scorned  the  Church  of  Rome,  and  re- 
jected that  of  England.  He  tarried  in  Presbyterianism  only  long  enough 
to  learn  that  "New  Presbyter  is  but  old  Priest  writ  large."  Naturally 
his  sympathies  drifted  toward  the  Quakers,  who  emphasize  the  inner 
impulse  of  the  Spirit.  But  in  none  of  them  did  his  free  spirit  find  a 
resting  place.  All  were  inadequate  for  his  lofty  ideal,  which  was  rather 
above  the  militant  Church,  than  opposed  to  it. 

Another  powerful  line  of  influence  from  Milton 's  great  conception  N, 
was  that  upon  religious  Mysticism.  The  basic  principle  of  his  entire  con-  ' 
ception  was  that  immediate,  mystical  relation  of  the  spirit  of  man  to  the 
unseen  powers  that  makes  for  the  triumph  of  right.  With  him  this  union 
was  vivid  and  powerful.  He  felt,  and  made  others  feel,  that  just  behind 
the  veil  of  the  flesh  the  heavenly  forces  were  in  full  alliance  with  the 
man  who  was  striving  for  the  right  for  himself  and  others.  Milton  verily 
believed  that  he  spoke  the  truth  of  God,  when  he  said,  in  Comus  (1634)  : 

Mortals,  that  would  follow  me, 
Love  Virtue,  she  alone  is  free ; 
She  can  teach'  you  how  to  climb 
Higher  than  the  spheary  chime : 
Or.  if  Virtue  feeble  were, 
Heaven  itself  would  stoop  to  her. 

Thus  early,  one  may  see  the  broad  platform  of  Milton's  idealized  uni- 
verse rising  into  the  full   breadth  of  human  experience.     Thus  early, 
xf>ne  may  also  foresee  the  meaning  of  those  symbolical  visits  of  the  Angels 
TO  Eden,  and  of  those  divine  instructions  given  to  Adam  before  and  after 
the  Fall.'^ 

'••Perhaps  it  was  from  Milton  that  Rousseau  had  the  moral  draughts  which 
intoxicated  him  with  virtue.  This  is  rendered  more  probable  from  the  emphasis 
which  both  authors  laid  upon  the  moral  ends  of  education. 


246  THE    MILTOX    TRADITION  [338 

111  this  mystical  world  of  Milton,  those  Komautieists  who  sought 
escape  from  the  depressions  of  the  real  world  found  a  satisfying  refuge. 
But  this  vastly  conceived  world  was  not  merely  a  dream  of  Fairyland. 
Milton  believed  a  free  commonwealth  to  be  the  truth  of  life,  and  there- 
fore possible  to  men.  Moreover,  men  believed  that  the  great  poet,  in  his 
own  soul,  had  actually  attained  that  ideal  fi'eedom, — a  conviction  that 
is  well  expressed  in  the  following  paragraph : 

"Sublime  ideality  still  prevailed  in  Milton,  now,  however,  aged  and  rudely 
surprised  by  the  Restoration  in  his  dream  of  an  austere  republicanism.  (Mean- 
while he  raised  the)  triple  sumptuous  structure  on  which  his  glory  as  the  first  of 
heroic  modern  poets  rests  forever.  Me  completed  the  vast  composition  which  places 
him  on  a  level  with  Dante  and  Homer,  which  links  him  with  the  Bible  and  ranks 
him  with  the  great  Jewish  prophets.  He  remained  the  stubborn  politician  and 
sublime  poet  who  was  capable,  even  under  the  check  of  Puritanism,  to  feel  and 
express  so  great  a  love  of  beauty.  He  is  the  admirable  exception  which  proves 
the  rule  that  the  human  soul  can  remain  free  despite  all  preconceived  systems  or 
the  crushing  force  of  circumstances.'"-''' 

Milton's  educational  theory  was  only  a  corollary  of  his  great  concep- 
tion of  the  moral  world.  Milton  made  morality  the  chief  end  of  educa- 
tion. In  Milton  both  instruction  and  training  must  foster  the  inner  prin- 
ciple oFTrbcrIv\  He  considered  knowledge  merely  for  the  sake  of  kiiow- 
iug,  to  be  a  vain  thing.  Knowledge  is  valuable  to  him  only  for  its  effects 
upon  conduct.  By  this  conviction,  he  austerely  directed  his  own  develop- 
^inent!  By  it  he  attempted  to  direct  the  education  of  others.  By  it  he 
V  determined  the  quality  and  limitations  of  knowledge  for  the  Race,  as 
Comparted  by  the  Angel  to  Adam  in  Paradise.""  It  is  not  merely^  'ifie 
good  in  order  to  be  happy.  That  is  an  invariable  result.  Milton's  real 
idea  of  education  is,  Learn  and  labor  in  the  direction  of  righteousness; 
for  therein  lie  the  largest  vossibilities  for  men  and  for  nations.  The 
Tractate~\vns  often  jirinted,  nmeli  read,  and  frequent]^'  cited  as  the  best 
authority.  Tlie  moral  end  of  education  became  ompluitic.  .Milton  was 
regarded  the  champion  of  public  education,  who  had  prescribed  the 
remedy  most  needed  for  the  social  and  national  evils  of  the  times." 

"'■Frederic  Loliee.  .1  Short  History  of  Comparative  Litcraliirc.  Translated 
by  M.  Douglas  Poiver.    Putnam,  N.  Y.    Chap,  xv,  p.  190. 

"'Cf.  Paradise  Lost  on  the  subject  of  Obedience.  The  universal  law  of  lib- 
erty, vi,  172-188;  Happiness  in  Heaven,  vi,  723-741;  Ilap|)iness  on  earth,  vi,  893- 
912;  End  of  life,  vii,  76-80;  I. imitation  of  knowledge  to  moral  ends,  vii,  111-130, 
viii,  167-178;  Power  to  make  earth  and  Heaven  one.  vii.  152-161.  It  will  be  per- 
ceived that  the  sum  of  the  highest  life  is  the  moral  issue  thereof,  wliioh  deter- 
mines everything  else  in  life. 

''■.^ppendix  H. 


339]  THE   ROMANTIC    APPLICATION    OF   MILTON,    1765-1801  247 

Milton 's  poetical  platform  was  also  a  corollary  of  his  vast  conception 
of  Man  in  his  relations  to  universal  order.  Poetry  was  thought  to  spring 
from  the  mystical  relations  of  the  spii'it;  for  poetry  is  merely  the  voice 
of  God  in  man.  His  platform  was  fully  carried  out  in  his  own  divine 
Epic.  As  thus  brouglit,  with  the  double  strength  of  theory  and  practice, 
to  bear  upon  Romantic  poets,  its  influence  can  scarcely  be  overesti- 
mated.'* 

Milton  believed  that  true  poetry  was  the  product  of  the  creative 
imagination  operating  under  the  direction  or  impulse  of  divine  inspira- 
tion. The  greatest  lyrical  poetry  was  the  voice  of  the  Hebrew  Prophets. 
"The  abilities  (for  poetry),  wheresoever  they  be  found,  are  the  inspired 
gift  of  God  rarely  bestowed,  but  yet  to  some  (though  most  abused)  in 
every  nation."  Great  poetry  is  not  attained  "but  by  devout  prayer  to 
that  eternal  Spirit  who  can  enrich  with  all  utterance  and  knowledge." 
The  end  of  poetry,  according  to  Milton,  is  preeminently  to  teach.  It  is 
the  voice  of  God,  and  must  not  be  prostituted  to  base  purposes.  Hence 
Milton  condemned  the  immoral  consequences  of  the  later  Elizabethan 
dramas,  attempted  to  raise  "Satyr"  above  the  "blinde  Tap  hoiise,"  and 
to  restore  Tragedy  to  its  exalted  function. 

The  bearer  of  this  divine  message  must  be  a  good  man,  skilled  in 
language  and  imitation.  He  must  be  led  and  fed  by  the  same  Divine 
Spirit.  ' '  He  who  would  not  be  frustrate  of  his  hope  to  write  well  here- 
after in  laudable  things,  ought  him  selfe  to  bee  a  true  Poem."  Neither 
the  message  of  Heaven  nor  the  messenger  must  wear  the  grievous  yoke 
of  Pagan  devices.  The  wings  of  the  Spirit  may  not  be  clipped.  The 
poetic  soul,  kindled  from  the  altar-fires  of  Jehovah,  must  not  wear  the 
shackles  of  tinkling  rhymes.  Such  a  soul  must  be  like  a  star,  and  dwell 
apart.    The  poet  must  be  one  with 

"Milton's  critical  views  may  most  readily  be  found  in  the  Critical  Essays  in 
the  jyth.  Century,  edited  by  J.  E.  Spingarn,  to  which  work  reference  is  made. 

Reason  for  Church  Government  (1641),  I,  197  ff.  The  Tractate  of  Education 
(1644),  I,  206.  Apology  for  Siiiectyninuus  (1642),  I,  205.  Preface  to  Sai)ison  Ago- 
nistes  (1671),  I,  207-9.  (Also,  W.  P.  Ker,  Essays  of  J.  Dryden,  I,  xxviii.  A.  W. 
Verity,  edition  of  Samson,  pp.  1-2.  I.  Bywater,  Milton  and  the  Aristotelian  Defi- 
nition of  Tragedy.  Jour,  of  Philo.,  1900,  27 :267-273.  Spingarn,  Hist  of  Lit.  Crit. 
in  the  Renaissance,  pp.  79-80.) 

See  Hist.  Lit.  Crit.  in  Ren.,  p.  54.  Apology  for  Smectymnuus.  I,  202.  The 
Verse  (1668),  prefixed  to  Paradise  Lost. 

Edw.  Phillips,  Preface  to  the  Theatruin  Poetarum  (1675).  Spingarn,  II,  259  ff. 
Cf.  also  Spingarn,  I.  xxii-xxiii.  Edw.  Dowden,  England's  Debt  to  Milton,  empha- 
sizes the  salutary  influences  of  Milton's  exalted  idealism,  which  Matthew  Arnold 
declares  to  be  the  thing  that  will  save  England  from  things  mean  and  vulgar.  (Essay 
on  Milton.)     Littell's  Living  Age,  l8gg,  223 :845-847. 


248  THE    MILTOX    TRADITION  [340 

A  voice  whose  sound  (is)  like  the  sea; 
Pure  as  the  naked  heavens,  majestic,  free;       (Trib.  199). 

and  yet,  one  who  is  willing:  to  undertake  the  humblest  tasks  of  life. 

Such  was  the  conception  of  ililton  himself  that  kindled  the  springs 
of  poetry  in  a  Wordsworth.  This  conception  of  the  pi'ophetic  consecra- 
tion of  the  creative  imagination,  received  from  ]\Iilton,  was  transfused  by 
Edward  Phillips  and  others  into  the  standard  conceptions  of  poetry. 
The  conviction  of  a  fundamental  relig:ious  inspiration  in  poetry  was 
caught  up  b}-  Dennis  and  emphasizeel  as  the  condition  of  all  great  works 
in  poetic  art.  The  moral  purpose  in  poetry  was  quickened,  and  gave  a 
tone  of  "high  .seriousness"'  to  literature  in  general,  which  may  be  reflected 
in  the  "literary  gospels"  of  the  Nineteenth  Century.  The  premium 
placed  upon  the  creative  imagination  breathed  the  bi'eath  of  poetic  life 
and  fire  into  the  ode-writers  who  rose  at  the  middle  of  the  Eighteenth 
Century.  In  a  word,  it  was  this  poetic  platform  of  Milton,  made  concrete 
and  irresistible  in  Paradisr  Lost,  that  read  itself  into  the  secret  heart 
of  the  English  people,  and,  more  than  anything  else,  stinudateil  the  I'evolt 
in  literature,  and  transformed  the  national  taste  so  much  that  the  con- 
ventional, the  commonplace,  and  the  couplet,  were  all  alike  intolerable. 


CONCLUSION 

The  foregoing  survey  has  sought,  above  everything  else,  fidelity  to 
facts  and  to  the  proportions  of  interest  in  the  several  parts  of  Milton's 
voluminous  works.     The  bearing  of  this  survey  upon  the  question  of 
Milton's  influence,  as  stated  in  Chapter  I  above,  would  seem  to  indicate  ^ 
that  the  common  view  has  hardly  taken  into  account  all  of  the  facts. 

In  Chapter  II  it  has  appeared  that,  during  the  period  under  discus- 
sion, the  part  of  Milton's  works  in  which  the  English  people  were  most 
deeply  interested  was  Paradise  Lost.  At  least,  that  poem  was  published 
and  sold  far  more  than  anytliing  else  which  Milton  ever  wrote.  The 
Prose  Works  were  published  in  several  editions,  and  about  one-half  of 
these  were  prior  to  any  extensive  recognition  of  the  Minor  Poems.  The 
Minor  Poems  themselves  were  published  in  four  separate  editions,  with 
twenty-eight,  one  hundred  and  twelve,  and  six  years,  between  them.  Some 
of  the  poems  began,  as  adaptations,  to  be  published  separately  about  the 
fourth  decade  of  the  Eighteenth  Century.  Otherwise,  the  Minor  Poems 
were  appended,  in  a  subordinate  manner,  to  the  Epics,  in  order  to  com- 
plete the  Poetical  Works  of  Milton.  Throughout  the  period  the  great 
commercial  interest  in  Milton  centered  in  Paradise  Lost,  as  perhaps  the 
"best  seller"  of  the  market. 

The  same  central  interest  appears  in  Chapter  III,  where  the  voice 
of  the  poets  is  heard.  With  few  exceptions,  and  those  traceable  to  inci- 
dental circumstances,  the  poets  of  this  period  thought  and  wrote  of  ^ 
Milton  in  terms  of  Paradise  Lost.  It  was  that  poem  which  expressed 
what  Milton  meant  to  them.  To  this  same  conception  the  biographers 
also  came,  through  a  gradual  transition  of  emphasis,  as  indicated  in 
Chapter  IV.  Some  of  the  earlier  biographers  were  sympathetic,  most 
of  them  were  not,  and  all  of  them  treated  Milton  as  a  politician,  who 
had  some  fame  as  a  poet  because  of  his  Paradise  Lost.  As  a  politician, 
Milton  was  not,  for  a  long  while,  generally  popular,  and  so  appeared  in 
most  accounts  of  his  life.  But  the  emphasis  of  his  career  gradually 
shifted  from  the  politician  to  the  poet,  under  the  rising  glory  of  this 
great  author,  wliieh  appears,  in  Chapter  V,  to  have  been  due  almost 
exclusively  to  the  influence  of  Paradise  Lost.  — j 

The  influence  of  this  poem  gradually  exalted  Milton  to  the  pinnacle/ 
of  the  temple  of  fame^eonvinced  the  nation  of  Milton's  superior  genius, I 

249 


250  THE    MILTOX    TRADITION"  [342 

procured  a  hearing  for  his  Prose  Writings,  and  brought  the  Minor 
Poems  into  public  notice.  Once  introduced,  as  stated  in  Chapter  VI, 
these  Minor  Poems  made  a  certain  fanciful  appeal  to  the  Milton-loving 
mid-eeutury  versifiers,  and  were  often  imitated  in  form,  though  glmngf 
never  approached  in  spirit.  They  were  used  somewhat  seriously  at  times 
as  a  model  or  form  of  expression  for  the  outlet  of  certain  poetic  feelings 
generated  in  the  earlier  stages  of  Romanticism.  But  these  poems  were 
rarely  more  than  a  sort  of  poetic  play-thing,  a  holiday  dress  for  the 
Muse,  a  strong  man's  diversion. 
r~  The  serious  concern  of  the  mid-century  England  was  to  understand 
I  the  sublime  message  of  Milton,  built  up  through  his  Prose,  and  cro^^^led 
in  his  exalted  Epics.  Therein,  as  pointed  out  in  Chapter  VII,  the  great 
voice  of  Milton  was  heard,  in  that  exalted,  unified,  comprehensive  mes- 
sage of  liberty,  wliich  permeated  and  transformed  the  life  of  England, 
V sending  its  manifold  currents  out  tlirougli  many  channels  of  the  Roman- 
tie  Movement. 


APPENDIX  A       MILTON'S  HISTORY  OF  BRITAIN 

This  History  of  Britain  was  published  several  times  during  the 
Eigliteenth  Century  (p.  45  above).  The  expurgated  part  on  the  Long 
Parliament,  &e.  was  published  in  1681,  and  restored  to  the  History  in 
1738.  (Newton,  Lf.  of  Milton,  Dublin,  1773,  I,  xxxvii.)  Prior  dwelt  at 
some  length,  in  a  Preface  (1706),  on  Milton's  interest  in  the  early  tra- 
ditions of  Brute,  and  built  an  Ode  .  ...  To  the  Queen  on  this  "poet- 
ical authority."  (Chalmers,  Eng.  Poets,  10:178.)  In  1718  {Complete 
Art  of  Poetry,  249),  Gildon  said: 

"Our  old  Saxon  History,  and  our  Heptarchy  might  afford  subjects  of  the  same 
kind  (as  the  classical  mythology)."  Then  lie  added,  "Milton  tells  us,  that  he  writ 
it  for  the  use  of  poets." 

Bishop  White  Kennet  began  his  Complcat  History  of  England 
(1706,  reprinted  1719,  3  vol.  fol.)  with  Milton's  History  of  Britain. 
Thomas  Hearne  (1678-1735),  the  antiquarian,  referring  to  this  History, 
Nov.  16,  1731,  said,  "John  Milton  I  believe  is  more  read  (than  John 
Clapham,  the  historical  writer)  ;  and  yet  even  Milton  was  infinitely 
better  at  poetry  than  history."  {Reliquiae  Hearnianae,  III,  77.)  In 
1737,  The  British  Librarian  (London,  1737,  p.  2)  quoted  Milton  as 
authority  on  Oildas.  When  David  Hume  (1711-1776)  began  to  deal 
with  this  early  period,  in  his  History  of  England  (1756),  he  was  glad 
enough  to  shelter  himself  in  the  national  esteem  for  Milton's  great 
abilities : 

"The  history  of  that  period,"  said  Hume,  "abounds  in  names,  but  is  extremely 
barren  of  events ;  or  the  events  are  related  so  much  without  circumstances  and 
causes,  that  the  most  profound  or  most  elegant  writer  must  despair  of  rendering 
them  either  instructive  or  entertaining  to  the  reader.  Even  the  great  learning  and 
vigorous  imagination  of  Milton  sunk  under  the  weight;  and  this  author  scruples 
not  to  declare,  that  the  skirmishes  of  kites  or  crows  as  much  merited  a  particular 
narrative,  as  the  confused  transactions  and  battles  of  the  Saxon  Heptarchy." 
(Hume,  Ed.  1S30.  vol.  I,  p.  22). 

Probabl.v  this  History  of  Britain  exercised  some  influence  upon  the 
problems  of  English  liberty  in  the  Eighteentli  Century.  Through  the 
shadowy  details  of  that  early  period  of  British  history,  Milton  por- 
trayed the  working  out  of  that  inseparable  union  between  virtue  and 
liberty,  which  applies  alike  to  individuals  and  to  nations.  This  emphasis 
of  Milton  has  been  very  well  pointed  out  by  Mr.  C.  H.  Firth,  in  Ids  article 
on  Milton  as  an  Historian,  published  in  the  Proceedings  of  the  British 
Academy,  1907-8. 

251 


252  THE    MILTON    TRADITION  [344 

APPENDIX    B       MILTON'S    BLINDNESS 

Milton  "s  Blindness  entered  three  times  into  his  own  poetry.  The 
first  time  was  in  the  Sonnets  On  His  Blindness  (1655)  and  To  Cyriack 
Skinner  (1656).  Here  one  hears  the  voice  of  resignation,  while  making 
what  Professor  W.  P.  Trent  has  called  the  most  splendid  example  of 
"unspectacular  patriotic  sacrifice."  (Milton  After  300  Years,  1910,  p. 
132.)  The  second  reference  bj-  Milton  to  liis  Blindness  was  in  Paradise 
Lost,  iii,  1-55,  where  one  may  perceive  the  enjoyment  of  a  conscious 
recompense  for  his  earlier  sacrifice,  in  that  inner  illumination  wliich 
opened  to  the  poet  the  brighter  visions  of  the  spirit  world.  The  last 
reference  mirrored  the  man  Milton  under  the  weight  of  his  afiBiction, 
' '  blind  among  enemies ! ' '  This  portrayal  of  his  own  woes  was  voiced 
in  the  outcries  of  Samson,  who  toiled  at  the  mill,  and  spent  his 

Life  in  captivity 
.-\mong  inhuman  foes. 

Few  touches  are  to  be  found  more  pathetic  than  that  of  the  old 
blind  hero  at  the  mill  mistaking  the  entering  Chorus  for  his  enemies. 

But  who  are  these?   for  with  joint  jiace  I  hear 
The  tread  of  many  feet  steering  this  way; 
Perhaps  my  enemies,  who  come  to  stare 
.•\t  my  affliction,  and  perhaps  to  insuh — 
Their  daily  practice  to  afllict  me  more. 

Then  through  the  Chorus,  quietly  drawn  near,  the  Poet  commented 
upon  liis  own  sad  fate : 

O   mirror  of  our   fickle  state, 

Since  man  on  earth,  unparalleled, 

The  rarer  thy  example  stands, 

But  how  much  from  the  top  of  wondrous  glory. 

Strongest  of  mortal  men. 

To  lowest  pitch  of  abject  fortune  thou  art  fallen. 

The  outcries  of  blind  Samson  were  only  a  larger  develo]iment  of  tlie 
"evil  days"  and  "evil  tongues"  of  Paradisr  Lost,  vii,  26,  whicli  became 
a  sort  of  key-note  to  Milton's  later  life,  during  the  Eighteenth  Century. 

The  fact  of  Milton's  Blindness,  and  these  poetic  expressions  of  that 
fact,  occupied  an  important  place  in  hid  r  tliought  of  the  poet.  He  was 
sometimes  criticised  for  having  stop|)ed  to  introduce  tliese  ]ier.sonal 
matters  into  his  Epic  (W.  J.  ^Miekle,  Tr.  of  the  Liisind,  Chalmers,  Eng. 
Poets,  vol.  21,  p.  634,  n.  11  )  :  but  Addison  thouglit  the  digression  very 
benutifnl    (Spec.,  No.  297).     Jt  was  a  common  tiling  to  find  the  entire 


345 ]  APPENDIX  253 

passage  from  P.  L.,  Ill,  in  the  earlier  Lives  of  Milton,  and  Bysshe  (Art 
of  Poetry,  1702)  quoted  the  passage  in  full. 

y' Milton's  Blinilness  played  heavily  upon  poetic  fancy  during  the 
Eighteenth  Centiiry.  This  fact  may  be  seen  by  reference  to  the  Poetical 
Tributes,  Numbers" 40,  77,  78,  110,  182,  187,  205,  208,  209.  A  somewhat 
extremely  fanciful  explanation  of  Milton's  Blindness  appeared  in 
Gray's  Progress  of  Poesy  (1754)  : 

Nor  second  he,  that  rode  sublime 

Upon  the  seraph-wings  of  extas}', 

The  secrets  of  the  abyss  to  spy. 

He  pass'd  the  flaming  bounds  of  Place  and  Time : 

The  living  throne,   the   saphire-blaze, 

Where  Angels  tremble,  while   they  gaze. 

He  saw ;  but  blasted  with  excess  of  light, 

Clos'd   his  eyes  in   endless   night. 

These  lines  were  regarded  as  weak  by  the  Monthly  Review  (14: 
434-41),  and  as  "a  puerile  conceit,  unworthy  of  the  author,  .  .  .  void 
of  truth  and  propriety,"  by  the  Critical  Review  (4:167-70).  Walpole 
thought  that  this  description,  "though  perhaps  not  strictly  defensible, 
is  very  majestic."  {To  Lord  Lyttclton,  Aug.  25,  1757.  Toynbee,  iv, 
85.)  Mason  pronounced  these  lines  within  "the  bounds  of  poetic  credi- 
bility," but  repulsive  because  "Milton  himself  has  told  us,  in  a  strain  I  ^ 
of  heart-felt  exaltation  (Sonnet  to  Skinner),  that  he  lost  his  eye-sight.' 
{Poems  of  Gray,  ed.  1778,  1,  p.  114.) 

Walter  Pater,  in  The  Renaissance,  Studies  in  Art  and  Poetry  (1910, 
p.  37),  says  that  the  Platonists  derived  mysticism  "from  the  act  of 
shutting  the  eyes,  that  one  may  see  the  more  inwardly."  Such  certainly 
was  thought  in  the  Eighteenth  Century  to  have  been  the  effect  of  Milton's 
Blindness:  he  was  enabled  thereby  to  see  the  invisible  things  of  the 
spiritual  world.  Milton  himself  had  suggested  .something  of  this  nature 
in  his  prayer  (P.  L.,  Ill,  51-55)  : 

So  much  the  rather  thou,  Celestial  Light, 

Shine  inward,  and  the  mind  through  all  her  powers 

Irradiate;  there  plant  eyes;  all  mists  from  thence 

Purge  and  disperse,  that  I  may  see  and  tell 

Of  things  invisible  to  mortal  sight. 

It  was  strongly  believed  that  this  prayer  was  literally  fulfilled. 
The  common  conviction  was  expressed  by  Charles  Gildon  in  his  Vindi- 
cation of  Mr.  Milton's  Paradise  Lost  (1694),  (Misc.  Letters  and  Essays, 
1694,  41-44)  : 

"Tho'  the  composing  such  a  compleat  poem  on  such,  a  no  less  obscure,  than 
weighty  subject,  was  a  Task  to  be  performed  by  Mr.  Milton  only,  yet  'tis  not  out 


254  THE    MILTON"    TRADITION  [346 

of  doubt,  whether  himself  had  ever  been  able  so  to  Sing  the  Unrevealed  Heavenly 
Mysteries,  had  he  not  been  altogether  deprived  of  his  Outward  sight,  and  thereby 
made  capable  of  such  continued  Strenuous,  Inward  Speculations :  as  he  who  has 
the  use  of  his  Bodily  Eyes,  cannot  possibly  become  possest  with.  This  however  must 
be  Granted,  as  indubitably  true;  the  bountiful  Powers  above,  did  more  than  make 
him  amends  for  their  taking  away  his  Sight,  by  so  Illumining  his  Mind,  as  to 
enable  him  most  compleatly  to  sing  of  Matchless  Beings,  Matchless  Things,  before 
I  unknown  to,  and  even  unthought  of  by  the  whole  Race  of  Men;  thus  rewarding 
him  for  a  Temporary  Loss,  with  an  Eternal  Fame,  of  which  Envy  it  self  shall  not 
be  able  to  deprive  this  best  of  Poems,  or  its  most  Judicious  Author." 

So  also  Isaac  Watts  said  in  verse  {To  Mitio,  My  Friend.  Pt.  II, 
The  Bright  Vision.  Horae  Lyricae,  Bk.  ii.  Chalmers,  E.  Pts.,  13:67- 
70): 

'Twas  Raphael  taught 
The  patriarch  of  our  progeny  th'  affairs 
Of  Heaven:  (so  Milton  sings,  enlightened  bard! 
Xor  miss'd  his  eyes,  when  in  sublimest  strain 
The  Angel's  great  narration  he  repeats). 

And  John  Hughes  continued  the  same  eonceptiou,  in  To  The  Memory 
of  Milion,  (luoted  as  Tribute  No.  40.  This  idea  of  a  compensative  inner 
illumination  continued  even  into  the  Nineteenth  Century  and  appeared 
as  the  basis  of  a  just  observation  of  Thomas  Campbell  (1777-1844),  who 
spoke  in  his  Specimens  (1819,  I,  238-9)  of  Milton's  dependence  upon 
supernatural  inspiration,  when  his  eyes  were  shut  on  the  face  of  nature, 

and  "in  a  calm  air  of  strength beginning  a  mighty  performance 

without  the  appearance  of  an  effort." 

]\lilton's  Blindness  passage  was  even  imitated.  Thomas  Blacklock 
(1721-1791)  was  blind  from  the  age  of  six.  By  1754,  he  wrote  his 
Soliloquy,  in  blank  verse,  which  is  little  more  than  a  prolonged  echo  of 
Milton  on  the  subject  of  Blindness.  James  Spenee,  who  wrote  An 
Account  of  the  Life  of  BlacMoek  (1754,  pub.  1756),  dwelt  at  some  length 
upon  the  similarity  between  him  and  Milton  in  this  respect.  This  simi- 
larity, as  well  as  Blacklock  "s  indebtedness  to  Milton,  was  recognized  in 
Verses  Written  by  a  very  Near-sighted  Ocntleman,  published  in  Black- 
lock's  Poems,  London,  1766,  Ivi-lxii. 

The  Rev.  Samuel  Iloole  published  Edward :  or.  the  Curate,  A  Poem 
in  Three  Cantos,  in  1787.  Of  this  work,  the  Monthly  Review  said  (78: 
242-243). 

"After  the  manner  of  Milton,  in  the  third  book  of  his  Paradise  Lost,  he  has 
introduced  his  subject  with  an  affecting  reference  to  his  own  misfortune,  a  defect 
of  sight,  to  console  himself,  under  which  he  appears  to  have  undertaken  this 
poetical  detail  of  Edward's  woes." 


347  ]  APPENDIX  255 

Likewise  also  Milton  entered  into  the  literature  of  Blindness  itself. 
Denis  Diderot  (1713-1784)  published  An  Essay  on  Blindness  (1750f), 
with  anecdotes  on  Milton.  Select  Essays  from  the  Encyclopedy  had  an 
article  (xii)  on  Blindness,  by  M.  D'Alembert,  which  referred  to  noted 
persons  who  were  blind.  (Cr.  Rev.,  33:49-54.)  Robert  Wood,  Esq.,  in 
his  Essay  on  the  Original  Genius  and  Writings  of  Homer  (1775),  ran 
a  parallel  between  Homer  and  Milton,  and  felt  a  connection  between 
their  Blindness  and  their  sublimity.  (Cr.  Rev.,  Sept.,  1775,  40:169- 
178.)  The  Monthly  Review  quoted  Thomas  Brown's  Observations  on 
the  Zoonomia  of  Erasmus  Darwin  (1798),  as  iising  Milton's  descriptive 
excellences,  though  blind,  to  expose  the  absurdity  in  Darwin's  theory 
that  "when  an  organ  (of  sense)  is  destroyed,  the  ideas  of  that  organ 
necessarily  perish."'  "Can  we  then  suppose,"  said  Brown,  "that  Milton 
described  the  beauties  of  his  ideal  paradise,  without  any  conception  of 
what  he  described!"     (Mo.  Rev.,  June,  1799,  110(29)  :151-164). 

APPENDIX    C       MRS.    MACAULAY    ON   MILTON 

About  the  end  of  the  third  quarter  of  the  Eighteenth  Century,  the 
question  of  literary  property,  or  copyright,  was  warmly  discussed,  the 
right  having  been  practically  annulled  by  "the  fatal  decision  against  it 
in  the  house  of  lords."  Literary  circles  were  in  great  confusion.  Cath- 
erine Macaulay,  who  was  then  sick  and  above  a  hundred  miles  from  the 
capital,  gathered  her  remnants  of  strength  for  A  Modest  Plea  for  the 
Property  of  Copy  Right  (1774).  She  introduced  the  names  of  Bacon, 
Newton,  Milton,  and  Lock,  "as  examples  to  prove  that  the  first-rate 
geniuses  have  laboured  in  the  literary  way,  on  the  single  motive  of  de- 
lighting and  instructing  mankind."  But  the  rewards  of  these  authors 
were  a  perpetual  disgrace  upon  the  nation.  The  use  that  she  made  of 
Milton  in  this  connection  is  a  splendid  summary  of  his  influence  upon 
certain  aspects  of  national  life  and  thought  at  that  time.  In  her  man- 
ner of  direct  narration,  she  said : 

"Newton  was  gratified  with  a  place  and  pension;  and  Milton,  for  his  spirited 
and  noble  defence  of  the  people  of  England,  had  the  honour  of  receiving  thanks, 
accompanied  with  a  present,  from  the  most  patriotic  government  that  ever  blessed 
the  hopes  and  military  exertions  of  a  brave  people.  When  indeed  the  times  altered, 
and  the  matchless  Author  of  Paradise  Lost  had  fallen  on  evil  days ;  when  his 
prospects  in  regard  to  lucrative  advantage  was  vanished ;  when  he  had  lost  his  eyes 
in  the  attempt  of  fixing  the  ideas  of  good  government  and  true  virtue  in  the  minds 
of  a  wavering  people:  when  his  fortunes  were  entirely  ruined  in  the  crush  of  his 
party:  this  excellent,  this  heroic,  this  god-like  man,  instead  of  flying,  like  Timon 
of  .Athens,  from  the  haunts  of  the  human  species,  amused  his  distressed  imagination 
with    forming,    for   the   delight   and   the   instruction   of   mankind,   a   poem,    whose 


256  THE    MILTON    TRADITION  [348 

merit  is  of  such  magnitude,  that  it  is  impossible  for  a  genius  inferior  to  his  own 
to  do  it  justice  in  the  description. 

"Such  an  example  of  love  and  charity,  it  is  to  be  owned,  does  great  honour  to 
Milton's  religious  and  moral  principles,  and  to  human  nature;  but  yet  I  think  it  is  an 
example,  which  may  with  much  more  propriety  be  brought  on  the  other  side  of  the 
question.  Can  any  man,  capable  of  feeling  and  tasting  the  compositions  of  Milton, 
reflect  without  sorrow  and  anguish  of  heart,  that  n  society  of  rational  beings  should 
be  so  void  of  every  grateful  sentiment,  so  dead  to  every  moral  instinct,  as  to  suffer 
the  posterity  of  this  illustrious  citizen,  to  be  reduced  to  a  state  of  poverty,  which 
necessitated  them,  for  the  support  of  a  miserable  existence,  to  solicit  a  share  in 
the  distribution  of  public  alms. 

"In  Milton's  days,  had  literary  property  stood  on  the  same  footing  it  was  sup- 
posed to  stand  on  before  the  fatal  decision  against  it  in  the  house  of  lords,  a 
bookseller  notwithstanding  this  worthy  man  was  under  the  frowns  of  a  court ; 
notwithstanding  the  virtue  of  his  conduct  had  subjected  him  to  a  load  of  unpopu- 
larit}',  from  the  change  of  sentiment  in  his  giddy  coimtrymen ;  notwithstanding,  I 
say,  these  difficulties,  a  bookseller,  on  speculative  grounds,  might  possibly  have 
given  him  such  a  sum  for  that  incomparable  poem,  as  would  in  some  measure  have 
helped  to  support  him  comfortably  under  the  cloud  of  his  fortune,  and  enabled  him 
to  leave  such  a  decent  provision  for  his  posterity,  as  to  have  prevented,  to  the 
indelible  disgrace  of  this  country,  the  necessity  of  their  asking  alms." 

A  foot-note  says,  "'Tliis  will  not  appear  an  extravagant  supposition,  when  we 
consider  tlie  prices  which  the  present  bishop  of  Bristol  got  from  the  liooksellers,  for 
writing  a  few  notes  on  this  incomparable  poem." 

Crit.  Rci'icv.',  March,   1774.     37  ;2i4-22i. 

APPENDIX  1)       ADDISON'S  CRITIQUE  UPON  THE  PARADISE 
LOST,  IN  THE  EIGHTEENTH  CENTURY 

Tile  popularity  of  Adili.son's  CritiqtK  tliroii<rlioiit  tlic  Eighteeuth 
Century  was  very  great.  Besides  the  wide  cirenlation  of  the  original 
Spectator  Paprrs,  this  Critique  seems  to  have  been  reprinted  in  the 
Spectator  in  1712  8vo.,  1729  12mo.,  1744  12mo.,  1765  8vo.,  1799  12mo., 
1796  (Ildrriso)!'^  Brit.  Classicks,  4-5)  8vo.,  and  1746  (Tr.  into  French) 
12mo.  The  Works  of  Addison  were  publislied  in  1721  4  vols.  4to.,  1722 
4  vols.  12mo.,  1741?,  1761  4  vols.  4to.,  1777  3  vols.  12mo. 

Tlie  Criti(iiie  was  ]irinted  \\\\\\  Paradise  Lost  in  the  following 
editions : 

24  I-I9  46     1750  80     1770  99    1778  123     1/95-6 
45     1749               71     1763               95     1776              107     1790  125     179s 

and,  according  to  the  British  Museum  Catalogue,  in  the  following: 

25  1720  50    1751  73    1765  130    iSoi 
32     1731                57     1754               92     '775 


349]  APPENDIX  257 

It  was  printed  in  a  separate  volume  in  1719,  and  as  a  part  of  the 
Familiar  Explanation  of  Milton,  12rno,  1762.  It  was  translated  into 
German,  by  J.  J.  Bodmer,  1740,  8vo.  It  was  translated  into  French,  and 
printed  with  Paradise  Perdu,  in  1729,  1754,  1792,  and  with  Milton's 
Works,  in  1753.  It  was  translated  into  Italian,  by  Rolli,  in  1742,  and 
printed  again  in  1794  and  1801. 

If  the  above  figures  be  correct,  the  Critique  passed  through  the 
English  press  thirty-two  times  by  1801,  and  appeared  in  translation 
eight  times.  Wliile  Addison  seemed  himself  to  say,  in  his  introductioA' 
to  these  Papers,  that  he  did  not  need  to  write  Milton  into  popularity, 
yet  the  Papers  were  timely,  and  did  greatly  stimulate  the  interest  in 
Paradise  Lost. 

The  first  formal  representation  of  this  stimulated  interest  occurred 
while  the  Papers  were  still  coming  from  the  press.  Eustace  Burgell 
(Spec.,  April  22,  1712)  was  doubtless  writing  with  his  eye  on  the  object, 
when  he  represented  Will  Honeycomb  with  a  pocket  edition  of  Paradise 
Lost,  a  new  Tonson  Quarto,  no  doubt,  which  Sir  Roger  wished  to  bor- 
row, with  the  leaf  turned  down  at  a  select  passage  recently  brought  to 
his  attention,  and  which  he  desired  to  read  that  night  before  going  to 
bed.  Addison  himself  also  spoke,  in  the  Spectator  (May  3,  1712),  of 
the  generous  way  in  which  the  public  had  received  his  Papers  on  Milton. 

The  interest  continued  throughout  the  century,  not  without  some 
notes  of  criticism  on  Addison's  methods,  though  in  general  he  was  often 
thought  of  as  the  first  great  champion  of  Milton's  popularity. 

Charles  Gildon,  in  the  Laivs  of  Poetry  (1721,  p.  259),  approved, 
in  general,  the  spirit  of  Addison 's  work,  but  censured  him  for  attempting 
to  bring  "a  divine  poem"  under  the  rules  of  heroic  poetry.  (Cf.  also 
The  Complete  Art  of  Poetry,  1718,  p.  269.)  Naturally  enough,  the 
Apotheosis  of  Milton  (1738),  by  William  Guthrie  (1708-1770),  gave  a 
delightful  character  of  Addison  boosting  Milton's  claims  among  the 
poetical  spirits  of  the  other  world  (Addisoniana,  I,  144-5  and  Gent. 
Mag.,  8:232,  469,  521,  &e.) 

Dr.  Johnson  recognized  Addison,  in  relation  to  Milton,  as  "the  illus- 
trious writer  who  has  so  long  dictated  to  the  commonwealth  of  learn- 
ing." (Rambler  86,  Jan.  12,  1751.)  More  definitely,  however,  the 
Doctor  seems  to  have  expressed  his  feelings  when  he  said,  in  the  Life 
of  Addison  (ed.  Hill,  II,  147),  "By  the  blandishments  of  gentleness 
and  facility  he  has  made  Milton  an  laniversal  favorite  with  whom  readers 
of  every  class  think  it  necessary  to  be  pleased." 

A  Note  to  Gibber's  Life  of  James  Thomson,  which  the  Monthly 
Review  thought  worth  while  to  quote  (Appendix  to  vol.  9,  p.  486,  1753), 
held  that  ililton's  "works  were  only  found  in  the  libraries  of  the  cu- 
rious, or  judicious  few,  till  Addison's  Remarks  spread  a  taste  for  them; 


258  THE    MILTON    TR^VDITION  [350 

and  at  length  it  became  even  unfashionable  not  to  have  read  them." 
R.  Kedington  (d.  1760),  in  his  Dissertation  on  the  Iliad  of  Homer 
( 1759 ) ,  affirmed  that  ' '  the  great  ililtou  lay  for  a  long  time  most  cruelly 

neglected,  tiU  an  admired  Writer unfolded  his  beauties."    (Mo. 

Rev.,  Feb.,  1760,  22:119.)  This  same  Review  (May,  1762,  26:299) 
declared  that  Addison's  Remarks  helped  materially  to  prepare  the  way 
for  the  appreciation  of  James  Thomson's  works  a  few  years  later.  Lord 
Kames,  in  his  Elements  of  Criticism  (1762),  spoke  of  Miltou  as  "hid 
under  the  veil  of  obscurity,  till  Mr.  Addison  unfolded  his  beauties  to 
the  public  eye."  (Quoted  Mo.  Rev.,  27:13.)  Edward  Watkinson,  in 
Ills  Essay  on  Criticism  (1763.  part  iii),  likewise  referred  the  reputation 
of  Milton  to  the  Critique  of  Addison. 

The  critical  value  of  Addison's  Remarks  was  assailed  in  the  last 
half  of  the  century.  Richard  Hurd  wrote  in  1770:  "For  what  con- 
cerns his  Criticism  on  Milton  in  particular,  there  was  this  accidental 
benefit  arLsiug  from  it,  that  it  occasioned  an  admirable  poet  to  be  read, 
and  his  excellencies  to  be  observed.  But  for  the  merit  of  the  work  itself, 
if  there  be  anything  just  in  the  plan,  it  was,  because  Aristotle  and 
Bossu  had  taken  the  same  route  before  him."  {Life  and  Correspond- 
ence, Memoirs,  &c.,  pp.  107-8,  363-4.)  Hurd  pronounced  Addison's  crit- 
icisms "not  infrequentl}'  altogether  frivolous."  (Quoted  Knox's  Essays, 
No.  21.    Perry,  Eng.  Lit.  in  18C.,  163n.) 

Mrs.  Barbauld  strongly  denied  that  Addison  discovered  Milton's 
Paradise  Lost.  {Crit.  Essays  on  the  Tatler  &  Spec.  Works,  Boston,  1826, 
III,  83-104.)  But  the  Rt.  Hon.  George  Canning  thought  that  "To  the 
Critiques  of  the  Spectator.  Shakespeare  and,  more  particularly,  Miltou 
are  endebted  for  no  inconsiderable  share  of  the  rej)utation  which  they 
now  so  universally  enjoy."  {Microcosm  No.  11,  Feb.  12,  1787.  Brit. 
Essayvsts,  1827,  28:66-72.    Gleaner,  1811,  No.  Ill,  2:100.) 

Nathan  Drake,  M.D.  (1766-1836),  however,  defended,  against  some 
modern  critics,  tlK;  wisdom  of  Addison's  Critique  as  the  effective  thing 
for  its  day,  and  justified  that  wisdom  by  tlie  luiparalleled  results  of  the 
Critique  upon  the  popularity  of  Milton,  which  had  continued  to  in- 
crease to  the  end  of  th(>  century.  "Perliaps  no  effort,"  said  Drake,  "in 
the  annals  of  criticism  has  been  productive  of  more  salutary  and  decided 
cfTcets,  than  the  atteiiij)t  to  render  popular  the  Paradise  Lost  of  Mil- 
ton." (0?!  the  Critical  Abilities  and  Ta.-<tes  of  Addison.  Essays  Biog., 
&c.,  1798,  vol.  2,  pp.  144-167.)  Perhaps  there  was  need  of  this  defence 
of  Addison  at  that  time.  In  liis  Lectures  on  English  Poets,  written 
about  1797  but  not  pul)]i.shed  until  1807,  Pereival  Stockdale  said.  "A 
sacrilegious  contempt  liath   been   expressed   for   that  elegant  critick's 


351]  APPENDIX  259 

beautiful  papers  in  the  Spectator  on  the  Paradise  Lost."     (Quoted  by 
Perry,  p.  163.) 

This  persistent  interest  in  the  Critique  shows  that  it  was  regarded 
as  perhaps  the  stamlard  work  of  the  centurj-  on  Paradise  Lost,  and 
argues  a  large  influence  upon  the  popular  appreciation  of  that  poem. 
One  can  easily  understand  how  it  should  come  to  be  regarded  that 
Addison  first  broiight  Milton  into  popularity  by  these  Papers,  because 
thej'  were  a  sort  of  epoch-making  production. 

APPENDIX  E       THE  CONTROVERSY  ABOUT  MILTON'S 

RELIGION 

The  exact  truth  of  Milton's  religious  views  was  always  a  more  or 
less  debated  question.  His  ancestors,  and  some  of  his  contemporary 
kinsmen  were  Roman  Catholics.  But  Milton's  own  family  had  broken 
with  the  Faith  of  Rome  long  before  the  Poet's  birth.  They  were  Puri- 
tans, and  such  in  general  was  Milton;  but  he  was  felt  to  have  many 
exceptions  to  the  regular  Puritan  religious  formulas.  Milton  severed 
his  connections  with  the  Church  of  England,  and  seems  not  to  have 
been  actively  connected  with  any  church  organization.  Later  in  life, 
he  leaned  toward  the  Quakers.  These  facts,  together  with  many  things 
in  his  writings,  laid  the  religious  beliefs  of  Milton  open  to  many  specu- 
lations. 

John  Toland,  wlio  cared  little  about  orthodoxy  either  in  religion 
or  politics,  described  Milton  as  a  Socinian  and  a  republican.  There  was 
also  a  suspicion  that  Milton  was,  during  his  last  days,  a  Roman  Catholic. 
Thomas  Hearne  (1678-1735),  the  antiquarian,  explained  this  matter 
rather  fully.  Before  quoting  him.  it  will  be  well  to  recall  that  Sir 
Christopher  Milton  (1615-1693)  was  himself  a  Catholic.  "Mr.  Joyner 
told  me,"  said  Hearne,  July  4,  1705,  "that  Mr.  Selden  writ  the  Life  of 
Fryer  Bacon,  but  he  cannot  tell  where  'tis  now.  At  the  same  time,  he 
gave  large  encomiums  of  Mr.  Milton,  but  denies  that  he  died  a  Papist." 
On  Sept.  16,  1706,  Hearne  wrote  half  a  page  on  this  subject,  from  which 
it  seems  that  Joyner  stoutly  denied,  while  Hearne  seemed  to  credit  the 
testimony  of  Sir  Christopher  Milton,  confirmed  by  a  sermon  preached 
by  Dr.  Binks  at  assize  at  Warwick.  Sir  Christopher  had  claimed  that 
John  Milton  was  a  Papist  for  the  last  ten  years  before  his  death. 
'Hearne  seems,  however,  to  have  thought  well  of  the  Poet  Milton,  and 
spoke  of  him  as  "the  famous  John  Milton."  {Reliquiae  Hearnianae, 
Vol.  I,  pp.  1-2,  115,  291.) 

Biographers,  as  a  rule,  have  little  to  say  about  Milton's  religion. 
Richardson  dismissed  the  charge  of  Arianism,  with  confidence  in  the 
general  approval  of  "so  many  Pious  and  Learned  Divines  having  ap- 
proved and  encouraged  the  Book."     {Life,  xlix.) 


260  THE    MILTON    TRADITION  [352 

A  brii'f,  but  spirited,  controversy  on  the  charge  of  Arianism  was 
waged  throiigh  the  Gentleman's  Magazine  in  1738.  The  attack  was 
made  by  "Theophihis, ''  who  claimed  to  regard  Milton  very  higlily  as  a 
poet,  but  thought  not  "so  well  of  his  religion."  (8:124-125).  The 
charge  was  that  of  Arianism,  "which  .  .  .  tends  to  corrupt  our  Notions 
of  the  most  sacred  Things,  and  to  sensualize  our  ideas  of  God,  of  Heaven, 
and  another  world,  by  Glosses  often  profane  and  sometimes  ridicu- 
lous.'' Two  replies  to  this  charge  appeared  immediately.  One  of  them 
claimed  for  Milton  regular  orthodox  views  in  Paradise  Lost.  (8:201-2). 
The  other  writer,  who  had  newly  and  carefully  perused  Addison's 
Critique,  vindicated  INIilton  against  the  charge  of  a  sensual  Heaven,  &c. 
(8:288-90). 

The  next  writer,  Urbanus  Sylvan,  who  was  quoted  from  tlie  Daily 
Gazette  (Aug.  7),  challenged  Theophilus  "to  produce  some  Passages 
from  Pafadise  Lost,  to  prove  his  assertion  that  Milton  had  adopted  the 
Ariau  Principle  into  that  Poem :  if  it  is  not  done  in  three  months,  The- 
ophilus must  pass  as  some  conceited  Popish  Tool,  wliose  aim  was  to 
deter  well-meaning  People  from  reading  a  Poem  wherein  the  Idolatry 
and  Superstition  of  the  Heathens  and  Papists  are  exposed  with  all  pos- 
sible strength  and  Beauty."  (8:417).  Five  months  later,  Theophilus 
made  a  feeble  reply,  which  seems  to  have  been  his  last,  claiming  that 
his  charge  liad  not  been  answered.  One  tiling  prominent  in  tiiis  argu-, 
ment  was  the  direct  appeal  which  was  made  to  Addison's  Critiq^ie  as 
tile  ultimate  authority  on  Pai'adise  Lost.  (9:5-6). 

Dr.  .loliiison,  who  failed  not  to  seize  upon  any  means  of  rendering 
I\Iilton  s  name  odious,  i)layed  heavily  upon  the  religious  nerve  of  his 
contemporaries.  But  Milton  was  not  so  easily  dethroned  as  the  Doctor 
had  imagined.  The  venerable  biographer  was  immediately  informed 
that  Milton's  religion  was  sufficiently  revealed  in  Paradise  Lost,  or 
words  to  that  effect  ("\V.  &  D.,"  Gent.  Mag.,  ^March,  1779,  49:36-37); 
and  later  he  was  informed  that  Milton's  religion  needed  no  vindication 
(Boerhadem,  Gent.  Mag.,  Oct.,  1779,  49:492-3). 

But  Milton's  "Arianism,"  wliich  remained  an  unsettled  i><)int,  was 
a  subject  for  table  talk,  and  even  for  serious  discussion,  as  late  as  1827. 
(Thos.  Moore,  Diary,  V,  143,  "Jan.  11,  1827".)  Even  more  recently, 
Joseph  W.  Morris  published  Jolm  Milton:  a  Vindieation,  especially 
from  the  charye  of  Arianism.  London  ( I8(i2).  !^vo.  There  is  still  specu- 
lation as  to  what  Milton  really  did  believe  in  respect  to  religious 
matters. 

On  William  Blake's  view  of  the  doctrinal  errors  in  I'aradiM'  Lost, 
tliat  .Milton  was  an  Atheist,  and  "that  carnal  pleasures  arose  from  the 
fall,"  oiii'  may  consult  II.  (".  Robinson's  Diari/,  vol.  2,  uiidci-  lS2r)  ;inil 
1826,  pages  307-9  and  324. 


353  J  APPENDIX  261 

APPENDIX  F      NOTES  ON  MILTON'S  SOURCES 

Tlie  object  here  is  to  add  a  few  notes,  mainly  bibliographical,  to 
Chapter  vi,  at  Note  90,  p.  192. 

Dryden  said,  in  the  Preface  to  The  Fables  (1700),  that  "Milton 
was  the  poetical  son  of  Spenser,  and  Mr.  Waller  of  Fairfax.  .  .  .  Mil- 
ton has  acknowledged  to  me,  that  Spenser  was  his  original."  Gildon 
emphasized  this  point,  in  The  Complete  Art  of  Poetry  (1718),  in  the 
Preface  of  which  he  recognized  that  Spenser  had  made  both  Milton  and 
Waller  poets,  in  that  he  was  the  inspiration  that  kindled  their  natural 
geniuses. 

Milton's  indebtedness  to  the  Scriptures  was,  of  course,  evident 
from  the  earliest  appearance  of  his  Epics.  Addison  has  some  remarks 
upon  this  in  connection  with  the  Creation  {Spec.  339,  Mar.  29,  1712), 
and  vipon  Milton's  debt  to  Ovid  for  the  looking-glass  passage  (Bohn.  ed. 
I,  151-2).  The  Golden  Scales  passage  was  thought,  by  another  writer, 
to  come  from  Homer.  {Frce-Thinker,  149,  Aug.  24,  1719.  Drake's 
Gleaner,  1811,  18.  I,  133).  Later  in  the  century,  Akenside  was  inter- 
ested in  Milton's  lively  interest  in  ancient  mythological  lore.  (Notes  on 
the  Hijmn  to  the  Naiads  (1746).)  (Chalmers,  Eng.  Poets,  14:123-5). 
Milton's  obligation  to  tlie  Greek  dramatists  was  generally  recognized. 
R.' Potter  thought  that  "Milton  and  Gray  have  imitated  Aeschylus,  but 
with  that  free  spirit  of  imitation  that  always  accompanies  and  distin- 
guishes genius.  In  this  spirit,  the  fire  of  the  Prometheus  of  Aeschylus 
is  transformed  into  the  Satan  of  Milton."  (See  Mo.  Rev.,  Oct.,  1778, 
59:286-297.) 

Voltaire  contended  that  Paradise  Lost  owed  its  origin  to  a  Floren- 
tine Comedy,  called  Adamo.  by  Andreino  {Esseiy  on  Epiek  Poetry,  L., 
1727).  In  the  same  year,  this  view  was  assailed  by  the  Italian  Rolli, 
then  in  London ;  and  in  1753,  by  Giuseppe  Baretti,  in  A  Dissertation 
upon  the  Italian  Poetry,  &c.,  who  regarded  it  "ridiculous  that  such  a 
man  as  Milton  could  have  raked  among  the  rubbish  of  Andreino  so 
bright  a  jewel  as  the  Paradise  Lost"  (p.  67). 

Dr.  Pearee  thought  that  the  source  of  Paradise  Lost  was  an  Italian 
Tragedy,  called  II  Paradiso  Perso.  Peek  thought  it  borrowed  from  a 
wild  romance.  William  Lauder  reveiwed  the  question,  in  the  Preface 
to  his  Essay  on  Milton's  Use  and  Imitation  of  the  Modern  (1750).  In 
that  Essay,  Lauder  undertook  to  show  that  Milton  had  stolen  the  Epic 
from  Hugo  Grotius,  and  Masenius.  About  thirty  years  later,  there  was 
considerable  interest  in  Grotius 's  De  Veritate,  &c.,  which  was  translated 
as  Hugo  Grotius  on  the  Truth  of  Christianity.  The  Critical  Review 
(May.  1783,  55:400-1)  mentioned  five  translations.  This  work  was 
written  in  Dutch,  translated  into  Latin  (1628),  and  into  English  (1639), 


262  THE    MILTON    TRADITION  [354 

aud  again  i,1686).  The  later  Translation  by  L'Este  was  ""poor  stui?" 
(Cr.  Rev.,  Aug.,  1776,  42:153);  but  that  "by  Spencer  Madan  (1758- 
1836)   went  through  three  editions  (1782,  1792,  1814). 

Till  Battle  of  the  Genii,  A  Fragment,  in  three  Cantos.  Taken  from 
an  Erse  MS.,  was  published  about  1765,  and  reviewed  as  a  possible 
source  of  Milton's  Battle  of  the  Angels.  (Cr.  Rev.,  Feb.,  1765,  19:151.) 
The  Notes  to  the  Translation  of  the  Argonautics  of  Apollonius  Rhodius 
(1772,  pub.  1780)  were  given  largely  to  indicating  the  similarities  be- 
tween this  work  and  Milton  "s  Paradise  Lost.  (Bj-  Francis  Fawkes,  in 
Anderson,  vol.  13,  and  Chalmers,  v.  20.)  It  was  pointed  out,  that  The 
Christ iad  (1532),  by  Marcus  H.  Vida,  had  an  invocation  of  the  Holy 
Spirit.  (Cr.  Rev.,  Dec,  1771,  32:443-8.)  There  was  also  a  flimsy  at- 
tempt made  by  Peregrine  Phillips,  editor  of  C7'ashaw's  Poetry,  to  show 
that  Milton,  Pope,  Gray,  Young,  &c.,  wei-e  all  plagiarists  of  Richard 
Crashaw.  (For  reply,  "see  Cr.  Rev..  April,  1785,  59:255-8.)  Wm.  J. 
Mickle  attempted  also  to  find  a  connection  between  The  Lusiad  of 
Camoens  (1517-1579)  and  Paradise  Lost,  through  Fanshaw's  Transla- 
tion of  the  Lusiad  in  1653.  (Chalmers,  Eng.  Poets,  21:757-9.)  G.  E. 
Woodberry  regards  Camoens  "the  maker  of  the  only  truly  modern 
epic."     {The  Inspiration  of  Poetry,  1910,  Macmillan,  pp.  58-84.) 

In  1785,  Henry  Boyd  (d.  1832)  published  .1  Translation  of  the 
Inferno  of  Dante  Alighieri,  in  English  Verse,  with  Historical  Notes, 
and  the  Life  of  Dante.  Both  of  the  London  Reviews  hastened  to  point 
out  the  indebtedness  of  Milton  to  Dante  (cf.  Cr.  Rev.,  June,  1785,  59: 
401-410).  The  next  issue  of  the  Critical  Review  (July,  1785,  60:54-59), 
treating  The  Progress  of  Romance  through  Times,  Couniri(s,  and  Man- 
ners, in  two  volumes,  has  the  following  couunent  on  the  deadness  of  the 
Sixteenth  and  Seventeenth  Centuries  to  the  spirit  of  romance,  whose 
productions  in  this  way  were  regarded  as  objects  of  ridicule.  "It  was 
in  vain  to  lead  tlie  readers  to  those  forgotten  fables,  by  telling  them  that 
they  were  once  the  sources  of  entertaimuent  to  the  gay,  the  witty,  and 
even  the  learned  ;  that  from  this  fire  I\Iilton  frequently  kindled  his  torch, 
and  scattered  light  and  flame  into  meta])hysical  disquisitions,  or  austere 
complaints;  that  from  this  source  he  frequently  tlircw  an  additional 
lustre  on  even  his  own  sjilendid  imagery." 

Henry  Brooke  (1706-1783)  translated  Tasso's  Jerusalem  Delivered 
in  1738,  books  T  and  II,  in  rhyme  (Chalmers,  Eng.  Poets.  17:365-382). 
II  Tasso.  A  Dialogue.  Th<  Speakers  .lohn  MiUon.  Torquuio  Tasso.  In 
which  new  light  is  thrown  on  their  poetical  and  moral  characters,  ap- 
peared in  1762;  but  the  Critical  Review  (14:76)  tliought  the  "new  light 
certainly  concealed  under  a  busliel."  John  Iloole  (1727-1803)  trans- 
lated the  .hrnsalem  Velivtred,  into  heroic  conijlets,  in  1763.  The  work 
was  well    rccriv<.d.      (Cr.   Rev..    16:16-24;   Mo.    Rev.   29:182,   251,   321. 


355]  .vppENDix  263 

Chalmers,  Eng.  Poets.  21:405-16).  In  1773,  Hoole  translated  Orlando 
Purioso,  wliieh  seems  to  have  gone  through  eight  editions  by  1819. 
(Chalmers,  Eng.  Poets,  21:5-18).  In  1785,  La  Vita  di  Torquato  Tasso 
(1544-1595)  was  published  in  Rome,  and  reviewed  in  London.  (Cr.  Rev. 
Appendix,  1792.  6:506-12).  The  large  Miltonic  interests  in  all  these 
Italian  works  were  quite  conspicuous.  Hoole 's  Notes  were  devoted  to 
much  discussion  of  the  relations  of  Milton  to  Tasso  as  a  source. 

Late  in  the  century.  Win.  Hayley  added  to  his  Life  of  Milton 
"Conjectures  on  the  Origin  of  Paradise  Lost."  (1794,  1796).  Joseph 
Ritson  pointed  out  Hayley 's  failure  to  notice  "the  Angeleida  of  Erasmo 
Valvasone,  to  which,  I  am  apt  to  suspect,  Milton  was  as  much  indebted 
as  to  any  thing  his  biographer  has  enumerated."  (To  Mr.  Walker.  Let- 
ters, II,  108-112.  Feb.  3,  1796).  H.  W.  Tytler,  M.D.,  published 
Paedotrophia ;  or,  The  Art  of  Nursing  and  Rearing  Children.  A  Poem  in 
three  books.  Translated  from  the  Latin  of  Scevole  de  St.  Martha 
(d.  1623).  The  Dedication  to  Henry  III  was  compared  to  Paradise 
Lost,  as  a  possible  source;  but  both  probably  took  lines  from  Ovid.  (Cr. 
Rev.,  Dec,  1797.  U.S.  21:439-443). 

Charles  Dunster  (1750-1816)  published,  in  1800,  Considerations  on 
Milton's  Early  Reading,  and  the  Prima  Stamina  of  his  Paradise  Lost; 
together  with  Extracts  from  a  Poet  of  the  Sixteenth  Century.  In  a 
Letter  to  Wm..  Falconer,  M.D.  In  this  work,  the  author  attempted  to 
show  Milton's  indebtedness  to  Joshua  Sylvester  (1563-1618),  who  had 
translated  the  Scriptural  epic  of  the  Gascon  Huguenot,  Guillaume  de 
Sahaste,  seigneur  du  Bartas  (1544-1590).  This  work  translated  by  Syl- 
vester was  printed  in  two  English  editions  during  Milton's  early  days 
(4to.,  1613,  and  fol.,  1621)  ;  and  it  was  supposed  to  have  given  Milton 
the  idea  of  a  religious  epic.  This  work  was  given  considerable  notice  in 
contemporary  criticism,  and  it  was  felt  that  the  influence  upon  Milton 
from  Du  Bartas,  through  Sylvester,  was  not  as  direct  and  forceful  as 
Dunster  supposed  it  to  be.  (Cr.  Rev.,  Dec,  1800.  30  n.s.  2:438-42;  Mo. 
Rev.,  March,  1801.  115(34)  :234-39).  See  also  H.  J.  Todd's  Ufe  of 
Milton,  which  has  an  Appendix  containing  "An  Inquiry  into  the  Origin 
of  Paradise  Lost."  (ed.  1826.  pp.  Ixvii  &.). 

APPENDIX  G    RELIGIOUS  TITLES 

The  following  titles  belong  more  or  less  closely  to  this  line  of  theo- 
logical thought.  An  examination  of  these  works  will  show  the  Miltonic 
element  fully  as  prominent  as  the  titles  may  suggest: 

Thomas  Burnetus,  "The  Theory  of  the  Earth  and  Deluge  and  Paradise"  (1684). 
Sherlock  Wallis,  "Discourses  on  the  Possibility  of  the  Trinity"  (1694).  Charles 
Leslie,  "The  History  of  Sin  and  Heresy"  (1698)   (Chap,  v,  note  47,  above).     Edw. 


264  THE    MILTON    TR.\DITION  [356 

Young,  "A  I'indication  of  Providence ;  or  A  True  Estimate  of  Human  Life" 
(1728).  Bishop  Warburton,  "The  Divine  Legation  of  Moses  Demonstrated" 
(1737-S).  He  formerly  announced  "To  vindicate  the  ways  of  God  to  man,"  as  the 
purpose  of  this  work.  {Works,  (iSii).  I,  197).  James  Bale,  "An  Essay  toward 
the  Rationale  of  the  Liberal  Doctrine  of  Original  Sin,  or,  Vindication  of  God's 
Wisdom,  Goodness,  and  Justice,  in  Permitting  the  Fall  of  Adam."  (Mo.  Rev.. 
March,  1752.  6:223-6).  Printed  again  later.  (Cr.  Rev.,  Oct.,  1766.  22:257-66). 
B.  Regis,  D.D.,  "The  Ancientness  of  the  Christian  Religion."  From  the  Fall  of 
Man.  (Mo.  Rev.,  Oct.,  1753.  9:319).  John  Shuckford,  D.D.,  "The  Creation  and 
Fall  of  Man.''  Liberal.  (Mo.  Rev.,  Jan.,  1754.  10:58-70).  Wm.  Romaine,  "T/i<7 
Sure  Foundation."  Te.xt,  Isa.  28:16.  Deals  with  the  Fall.  (Cr.  Rev.,  May,  1756. 
1:3/8-383).  Delivered  before  Oxford  Univ.,  Apr.  11,  1756.  .A.  A.  Sykes,  D.D., 
"The  Scripture  Doctrine  of  the  Redemption  of  Man  by  Jesus  Christ."  (Mo.  Rev., 
May,  1756.  14:397-417).  .Anthony  Forthergill,  "The  Fall  of  Man:  .4n  Enquiry  into 
the  Nature  of  that  Event,  and  How  Far  the  Posterity  of  Adam  arc  involved  in  the 
guilt  of  his  Transgression."  (Mo.  Rev.,  1756.  15:677).  .Anonymous,  "A  Free  En- 
quiry into  the  Xaturc  and  Origin  of  Evil."  How  reconcilable  with  the  mercy  and 
benevolence  of  the  Supreme  Being?  (Cr.  Rev.,  May,  1757.  3:439-448)  (Mo.  Rev. 
16:302-316).  John  Wesley,  "The  Doctrine  of  Original  Sin,  According  to  Scripture, 
Reason,  and  Experience."  (Mo.  Rev.,  Nov.,  1757.  17:445-446). 

Hugh  Fanner,  "An  Enquiry  into  the  Nature  and  Desig\i  of  Christ's  Teniptation 
in  the  Wilderness.''  (Cr.  Rev.,  July,  1761.  12:74-5.  Mo-  Rev.,  .Aug.,  1761.  25:130- 
141).  .Answered  in.  "Christ's  Temptations  Real  Facts."  (Cr.  Rev.,  May.  1762. 
13:437)  Jonathan  Edwards,  "A  Careful  and  Strict  Enquiry  into  the  Modern 
Prevailing  Notions  of  that  Freedom  of  Will,  &-c!'  (Mo.  Rev.,  Dec,  1762.  27:434-8). 
Capel  Berrow,  "A  Lapse  of  Human  Souls  in  a  State  of  Pre-e.vistence,  the  Onl\: 
Original  Sin,  and  the  Ground-work  of  the  Gospel  Dispensation."  (Cr.  Rev.,  July, 
1766.  22:42-43).  Archbishop  King.  "Sermon  on  the  Circumstances  of  Man's  Fall." 
(1766).  William.  Lord  Bishop  of  Gloucester,  "A  Sermon  Preached  before  the 
Society  for  the  Propagation  of  the  Gospel  in  Foreign  Parts."  (1766,  Feb.  21). 
(Cr.  Rev.,  22:393).  Samuel  Pye,  M.D..  "The  Mosaic  'Theory  of  the  Solar,  or 
Planetary,  System."  Deals  with  Creation.  (Cr.  Rev.,  Dec,  1766.  22:410-415). 
Richard  Price.  "Four  Dissertations.  On  Providence,  &c."  (Cr.  Rev.,  Jan.,  1767. 
23:9-17)  Jonathan  Edwards.  "The  Great  Christian  Doctrine  of  Original  Sin 
Defended."  .A  reply  to  John  Taylor  on  same  subject.  (Cr.  Rev.,  Oct.,  1767. 
24:256).  Rev.  R.  Shepherd,  "Letters  to  the  Author  of  a  Free  Enquiry  into  the 
Nature  and  Origin  of  Evil."  No.  3  deals  with  "a  Paradisiacal  State."  (Cr.  Rev., 
July.  1768.  26:74-75).  "A  Lover  of  Genuine  Christianity,"  "Some  Considerations 
on  Original  Sin,  the  Fall  of  Man.  and  the  Doclriiic  of  a  Christ."  (Cr.  Rev..  .Aug., 
1770.  .50:157 

Anonymous,  "The  Key  of  Paradise,  Opening  the  Gate  to  Eternal  Salvation." 
(pp.  460.  1675).  Anonymous,  "The  History  of  Adam  and  Eve."  (Gent.  Mag., 
Dec,  17.38.  8:664).  Charles  Povey,  "'The  Virgin  in  Eden:  or  the  State  of  Inno- 
cency.  (Gent.  Mag.,  Nov.,  1741.  11:614).  Thomas  Hartley,  "Paradise  Restored:  or, 
A  Testimony  to  the  Doctrine  of  the  Blessed  Millennium."  ( 1764).  .\  mystical  writer 
who  sympathized  with  Wesley,  and  opposed  Warburton.  (Cr.  Rev.,  March,  1764. 
17:167-172.    "Pariulisc  Rninincd :  or,  the  Scripture  Account  of  the  Glorious  Millen- 


357 ]  APPENDIX  265 

iiiii)}!."  Pronounced  an  absurd  "rabbinical  dream."  (Cr.  Rev.,  April,  1772.  33:333). 
By  a  Listener,  "Infernal  Conferences ;  or  Dialogues  of  Devils."  "Must  have  been 
listening  to  Milton's  Pandemonium."  (Cr.  Rev.,  Aug.,  1772.  34:108-116).  Anony- 
mous, "An  Essdv  on  the  Justice  of  God."  (Cr.  Rev.,  Dec,  1773.  36:477).  John 
Palmer,  "Observations  in  Defence  of  the  Liberty  of  Man,  as  a  Moral  Agent:  In 
Answer  to  Dr.  Priestley's  Illustrations  of  Philosophical  Necessity.''  (Cr.  Rev., 
Oct.,  1779.  48:261-272).  Dr.  Wm.  King,  late  Archbishop  of  Dublin,  "An  Essay 
on  the  Origin  of  Ez'il,"  witli  ".4  Sermon  on  the  Fall  of  Man."  Edited  by  Edmund, 
Lord  Bishop  of  Carlisle.  5th  edition.  (Cr.  Rev.,  Jan.,  1782.  53:77-78).  Charles 
Chauncey,  D.D..  "Five  Dissertations  on  the  Scripture  Account  of  the  Fall:  and  its 
Consequences."  (Cr.  Rev.,  Dec,  1785.  60:444:453).  Anonymous,  "Paradise  Re- 
viewed: a  Series  of  Essays,  in  ivhich  are  deduced  our  Duties  in  Life,  from  Man's 
Nature  and  Origin."     (Cr.  Rev.,  Nov.,  1791.  n.s.  3:350). 

The  liberal  space  alotted  to  such  publications  in  the  current  Revicivs 
is  indicative  of  a  large  popular  interest  in  this  kind  of  literature.  What- 
ever the  strength  of  Miltonic  influence  upon  the  several  authors  of  these 
publications,  one  may  feel  fairly  safe  in  the  opinion  that  most  of  them 
would  be  interpreted  in  the  popular  mind  according  to  the  teachings  of 
Milton.  The  volume  of  this  literature  represents  therefore  a  powerful 
contact  of  Milton  with  the  popular  religious  life  of  the  nation. 

APPENDIX  H    SOME  EDUCATIONAL  TITLES  BEARING  UPON 
MILTON'S  INFLUENCE  ON  EDUCATION 

Of  first  importance,  were  the  tliirty-six  editions  of  the  Tractate 
(Chapter  II,  pp.  47-48  above).  Most  of  the  other  titles  were  gathered 
from  contemporary  Reviews,  and  are  usually  listed  under  the  date  of  the 
review.  The  list  is  intended  only  to  be  sufficiently  full  to  show  the  general 
trend  of  educational  thought. 

1752.  An  Essay  upon  Edn.,  intended  to  show  that  the  common  method  is  defec- 
tive, in  religion,  morality,  our  own  language,  history,  geography ;  and  that  the 
custom  of  teaching  the  dead  languages,  when  little  or  no  advantage  can  be  ex- 
pected from  them,  is  absurd.     (Mo.  Rev.,  Dec,  1752.  7:473-4). 

1756.  Thos.  Sheridan.  Brit.  Education:  or,  the  Source  of  the  Disorders  of 
Great  Britain.  Cites  Milton  with  approval.  (Mo.  Rev.,  Feb.,  1756.  14:81-104) 
(Cr.  Rev.,  Jan.,  1758.  S:5i-54)- 

1757-  J-  Girrard.  Practical  Letters  on  Edn.,  Spiritual  and  Temporal :  extracted 
from  the  most  eminent  authors  on  that  subject.     (Cr.  Rev.,  Nov.    4:409-412). 

G.  W.  Robener.  Satirical  Letters.  Tr.  from  German.  Treats  defects.  (Cr. 
Rev.,  June.  1757.    3:499-508). 

I7S9-  The  True  Mentor;  or.  An  Essay  on  the  Edn.  of  the  Young  People  of 
Fashion.     Tr.  from  the  French.     (Cr.  Rev.,  Nov.,  1759.    8:409). 

1761.  Jos.  Collyer.  The  Parent's  and  Guardian's  Directory,  &c.  Treats  prac- 
tical sides  of  Edn.     (Mo.  Rev.,  Jan.,  v.  24:67-73). 


266  THE    MILTON    TRADITION  [358 

Bishop  Burnet.  Thoughts  of  Edn.  Xow  first  printed  from  original  Ms. 
"Grown  much  in  demand."     (Cr.   Rev.,  Feb.,   1761.   11  ;  103-8). 

1761.  Rev.  Jas.  Hervey.  A  Treatise  on  the  Religions  Edn.  of  Daughters.  (Cr. 
Rev.,  June,  1761.  11:499.    Mo.  Rev.,  July,  1761.  25:79). 

1761.  R.  Wynne.  Essays  on  Edn.,  by  Milton,  Locke,  &c.  (^p.  48  above).  Added 
"Observations  on  the  Ancient  and  Modern  Languages."  (Cr.  Rev.,  June,  1761. 
11:500.     Mo.  Rev.,  July,  1761.  25:76-77). 

1761.  A  New  Estimate  of  Manners  and  Princil>les.  Compares  Ancient  and 
Modern  as  to  Knowledge,  Happiness,  and  Virtue.  Some  principles  of  Mr.  Rousseau 
examined.  Modern  educational  system  criticized.  (Mo.  Rev.,  Nov.,  1761.  25: 
361-368). 

1762.  The  Defects  of  an  University  Edn.,  and  its  unsuitablcncss  to  a  commer- 
cial people.    From  a  Society.     (Cr.  Rev.,  Feb.,  1762.     I3:i6iff.     Mo.  Rev.,  26:294). 

J.  J.  Rousseau  (1712-1778).     Emilius:  or  a  Neiv  System  of  Edn.     (Cr.  Rev., 

1762,  vol.  14,  250-270,  336-346,  4^-440;  vol.  IS,  21-34.    Mo.  Rev.,  27:213,  258,  342. 

1762.  The  Polite  Lady;  or,  A  Course  of  Female  Edn.  Letters  from  a  Mother 
to  her  Daughter.     (Cr.  Rev.,  Nov.,  1762.     14:399-400). 

1763.  Observations  on  Mr.  Rousseau's  .VfU'  System  of  Edn.     (Cr.  Rev.,  Feb., 

1763.  15:159- 

Jas.  Elphinston.  Education,  in  Four  Books.  Heroic  couplets.  (Cr.  Rev., 
March,  1763.     15:214-216). 

1765.  John  Gottlob  Kruger.  An  Essay  on  the  Edn.  of  Children.  Tr.  from  the 
German.     (Cr.  Rev.,  Feb.,  1765.  19:90  ff). 

Father  (Bernabite)  Gerdil.  Reflections  on  Edn.  Written  in  French, 
against  Rousseau.     (Cr.  Rev.,  May,  1765.  19:358-411). 

Jos.  Priestley,  LL.D.,  A)i  Essay  on  a  Course  of  Liberal  Edn.  for  Civil 
and  Active  Life.  Emphasizes  History  for  this  p\irpose.  (Cr.  Rev.,  Aug.,  1765. 
20:138-140). 

Dr.  Brown.     Thoughts  on  Civil  Liberty.    Outlines  a  Code  of  Edn. 

1769.  Wm.  Smith,  M.D.  The  Student.';'  I'ade  Mccuni.  Recommends  books  to 
study.     (Cr.  Rev.,  Dec,  1769.  28:430-6). 

Thos.  Sheridan.  A  Plan  of  F.dn.  for  the  Voung  Xobilily  and  Gentry  of 
Great  Britain.     (Cr.  Rev.,  Nov.,  1769.  28:342-8). 

1770.  Jas.  Buchanan.  A  Plan  of  an  English  Grammar  School  Edn.  Counts 
Latin  a  part  of  liberal  education.  (Mo.  Rev.,  Aug.,  1770.  43:154-5)  (Cr.  Rev., 
Sept.,  1770.  30:238). 

Baron  Biefield.  Tr.  by  W.  Hooper.  The  Elements  of  Universal  Erudi- 
tion.    (Cr.  Rev.,  Oct.,  1770.  30:262). 

Young.  Course  of  E.vpcrinicntal  .Igriculture.  Refers  to  Dr.  Home's 
The  Principles  of  Agr'l  and  Vegetation.  (Cr.  Rev.,  Oct..  1770.  30:273-84.  321-35). 
(See  also  pp.  398-399)- 

Jas.  Beattie.  Essay  on  Truth,  .Idded  an  essay  on  the  Ad-i'antiiges  of 
Classical  Learning.    Exalts  Milton. 

1771.  George  Fordycc.  Elements  of  .-Igriculture  and  I'egetalion.  (Cr.  Rev., 
Jan..  1771.    31 :6o-66). 

1772.  J.  Rice.  A  Lecture  on  the  Importance  and  Xecessily  of  rendering  the 
English  Language  a  peculiar  Hranch  of  Female  Edn.:  and  on  the  Mode  of  Instruc- 


I 


359]  APPENDIX  267 

tion  by  zvhicli  it  may  be  made  subscnnciit  to  the  Purposes  of  im[>roving  the  Under- 
standing, and  of  inculcating  the  Precepts  of  Religion  and  Virtue.  Pt.  I.  "Remarks 
on  the  prevailing  mode  of  Female  Edn."  Pt.  II,  "Outlines  Plan  of  Edn.,"  and 
recommends  both  the  Tractate  and  Paradise  Lost.  (Cr.  Rev.,  July,  1773.  36:78-79). 
Jas.  Wadham  Whitchurch.    .4n  Essay  upon  Edn.     (Cr.  Rev.,  May,  1772.  33:377). 

1774.  David  Williams.  A  Treatise  on  Edn.  Considers  the  schemes  of  Milton, 
Locke,  Rousseau,  and  Helvetius.     (Cr.  Rev.,  Sept.,   1774.    38:210-215). 

1775.  Wm.  Enfield,  LL.D.  The  Speaker  &c.  Quotes  the  Tractate,  and  selects 
from  Milton.     (Cr.  Rev.,  April,  1775,  39:273-6). 

1777.  M.  Helvetius.  A  Treatise  on  Man,  his  Intellectual  Faculties,  and  his  Edn. 
Tr.  by  W.  Hooper,  M.D.  Regards  Milton,  Locke,  and  Newton,  as  no  results  of 
mere  education.     (Cr.  Rev.,  Nov.,  1777.  44:327-341). 

1780.  Wm.  Scott.    Lessons  on  Education.     (Cr.  Rev.,  March,  1780.  49:240). 

1781.  Vicesimus  Knox.     Liberal  Education.     (Cr.  Rev.,  Feb.,  1781.     51:103-8). 
George  Hawkins.     Essay  on  Female  Edn.    Declaims  against  the  unsatis- 
factory conditions  of  female  boarding  schools.     (Cr.  Rev.,  Oct.,  1781.  52:318). 

1782.  Rev.  R.  Shepherd.  An  Essay  on  Edn.  Pointed  out  defects,  and  recom- 
mended ten  or  twenty  boys  of  same  grade  under  one  teacher.  (Cr.  Rev..  June, 
1782.  53:478-9). 

Percival  Stockdale.  An  E.vaniination  of  the  Important  Question  'whether 
Edn.  at  a  great  School,  or  by  private  Tuition,  is  preferable.  Prefers  latter,  against 
Knox.     (Cr.  Rev.,  June,  1782.  53:479). 

1783.  Francis  Whitfeld.  The  Utility  and  Importance  of  Human  Learning, 
stated  in  a  Sermon.     (Cr.  Rev.,  Feb.,  1783.   55:134). 

1786.  Peter  Williams.  Letters  Concerning  Edn.  "The  author  has  made  a  fre- 
quent, but  discreet  use  of  the  thoughts  of  Bacon,  Milton,  Locke,  Harris,  Mon- 
boddo,  and  other  writers  on  learning  and  education."  (Cr.  Rev.,  Feb.,  1786.  61: 
104-110). 

Hannah  More.  Hints  Tozcards  Forming  tlic  Character  of  a  Young 
Princess.  2  vol.  London.  s>'d  ed.  1S05.  Quotes  Milton's  definition  of  a  complete 
and  generous  education  on  her  title  page. 

1787.  George  Colman.  Orthopedia,  or  Thoughts  on  Public  Edn.  Cites  Mil- 
ton, Locke,  and  Cowper's  Tirocinium  (1785),  in  the  same  paragraph.  Held  Milton 
more  favorable  to  public  Edn.,  than  Locke.     (Mo.  Rev.,  Oct.,  1787.  77:273-281). 

1788.  John  Weddell  Parsons.  Essays  on  Edn.  (Cr.  Rev.,  Aug.,  1788.  66: 
139-141)- 

The  list  might  be  enlarged.  Tlie  subjects  discussed  include:  Litera- 
ture, Classics,  Chemistry,  iledicine,  Agriculture,  Horticulture,  Philoso- 
phy, Theology,  Geography,  History,  Shorthand,  Higher  Mathematics,  Bot- 
any, Music,  Military  Tactics,  &e.  Every  stage  of  educational  work  was  dis- 
cussed, from  the  "grades"  to  the  Universitj^  The  education  of  women 
was  very  prominent:  and  that  of  tlie  nobility  received  considerable 
attention.  The  commercial  aspects  of  common  education  began  to 
emerge,  and  the  idea  of  public  schools  was  touched  upon. 


268  THE    MILTON    TRADITION  [360 

There  seems  to  have  been  a  decided  discontented  feeling  toward  the 
systems  in  vogue.  Tlie  moral  results  of  the  schools  were  especially 
debated.  There  was  a  constant  casting  about  for  the  hope  of  better 
things.  Among  those  who  may  have  been  regarded  as  earlier  authori- 
ties, none  are  more  often  referred  to  and  quoted  than  ililtou  himself.  In 
many  cases,  his  ideas  were  cited  as  just  the  remedj-  that  the  interests  of 
educational  work  most  needed. 

APPENDIX  I     MILTON'S  EDEN  AND  ENGLISH  LANDSCAPE 

GARDENING 

English  landscape  gardening  in  the  Eighteenth  Century  represented 
a  strong  revolt  against  the  artificial  gardens  of  the  Seventeenth  Century, 
seen  more  especially  on  the  Continent.  The  literature  of  this  revolt  has 
been  very  well  treated  by  Professor  Beers  in  this  chapter  on  Landscape 
Gardening  (Hist,  of  Eng.  Rom.),  and  by  Miss  Myra  Reynolds,  in  her 
chapter  on  Gardening  (The  Treatment  of  Nature  in  Eng.  Poetri/,  pp. 
180-192).  But  the  latter  especially  is  open  to  some  criticism  in  dealing 
with  the  negative  aspects  of  the  subject,  to  the  neglect  of  the  constructive 
and  productive  influences  whieli  brought  about  the  change  in  taste  and 
practice. 

Among  the  more  effective  forces  in  producing  this  change  in 
gardening,  one  must  place  the  influence  of  Milton.  Francis  Coventry 
(il.l759),  discussing  "absurd  Taste  in  Gardening,"  even  in  the  mid- 
century,  condemned  Milton's  "trim  gardens"  in  Penseroso.  because  they 
were  drawn  from  the  custom  of  his  own  day.  ( World  No.  15,  April  12, 
1753.  Br.  A\s-.  1823.  22).  But  Milton's  Eden  was  felt  throughout  the 
ceiitui-y  to  liave  been  a  concrete  protest  against  the  pervailing  custom  of 
artificiality,  and  it  seems  to  have  hail  no  small  intluenee  as  a  constructive 
force  in  molding  the  taste  of  the  English  jieople  on  tliis  subject. 

In  Paradise  Lost  (Book  IV,  131-357)  Milton  gave  an  elaborate 
description  of  Eden.  This  Paradise,  its  very  name  a  synonym  for  an 
Oriental  garden,  tliose  sweet  fields  of  Elysium  adorned  with  all  that 
imagination  can  conceive  to  be  deliglitrul,  was  a  garden  of  Nature's 
own  fasiiioning.     It   had 

Flowers  worthy  Paradi.se ;  which  not  nice  art 

In  beds  and  curious  knots,  but  Nature  boon 

Pour'd  fortli  profuse  on  hill,  and  dale,  and  plain  (J41-,'?). 

Earth,  and  the  Garden  of  God.  witli  icdars  crown'd 
Above  all  liills.     (260-1). 

He  brought  thcni  into  this  delicious  grove, 
This  garden,  planted  with  the  trees  of  God, 
Delectable  both  to  licliold  and  taste.     (53"-39). 


I 


361]  APPENDIX  269 

And  there  the  Poet  made  of  the  first  Parents  practical  landscape  gar- 
deners (ix,  192  ff ) .  "  Some  of  the  most  pleasing  passages  of  Milton, ' '  said 
Knox,  voicing  the  constant  feeling  of  the  century,  "are  those  in  which 
he  represents  the  happy  pair  engaged  in  cultivating  tlieir  blissful  abode." 
(0)1  the  Pleasures  of  a  Garden.  Essays  Moral  cfc  Lit.  (1779).  9th  ed. 
1787.     No.  91.  vol.  ii,  291). 

Milton's  description  of  Eden  received  constant  applause.  When 
H.  Hare  (1636-1708)  published  his  Situation  of  Paradise  Pound  Out 
(London,  1683),  he  quoted  therein  two  pages  from  Milton's  description  of 
Eden,  thus  giving  the  sense  of  an  earthly  liabitation,  and  strengthening 
the  bond  of  union  between  Milton  and  the  rising  interests  of  Orientalism. 
Bysshe,  in  his  Art  of  Poetry  (1702,  ed.  1710,  ii,  322-5),  also  quoted  the 
description  at  great  length.  Addison  highly  commended  "the  beds  of 
flowers  and  the  wildness  of  sweets"  in  Eden  for  their  refreshing  influ- 
ence upon  the  imagination.     (Spec,  June  30,  1712). 

The  Poetical  Tributes  to  Milton  have  many  pleasing  references  to 
Eden.  (cf.  66,  85,  163,  181,  &c.).  In  1734 (?)," Vincent  Browne  (1695- 
1747),  in  a  Latin  Poem,  //(  Miltonwn,  ascribed  considerable  praise  to 
Milton's  landscajje  excellences.  Similar  praise,  though  in  lighter  tone, 
may  be  found  in  On  a  Flower  Which  Belinda  Gave  Me  From  Her 
Bosom  (Poems,  3  ed.  1739,  168-171).  This  rather  general  feeling  was 
very  well  voiced  in  Solitude.  An  Allegorical  Ode  (Gent.  Mag.,  June, 
1748.  18:278),  which  is  much  in  the  spirit  of  II  Penseroso: 

From  empty  mirtli,  and  fruitless  strife 
To  sacred  Solitude's   retreat, 
Where  Nature  all  her  cliarms  resumes, 
.\nd  Eden   still   unfaded  blooms. 

Professor  Beers,  quoting  Gray  and  others,  argues  that  James 
Thomson,  in  his  Seasons  (1726-30),  was  "perhaps,  in  a  great  measure, 
the  father  of  the  national  school  of  landscape  gardening."  (Hist.  Eng. 
Rom.,  p.  118).  Doubtless  tliis  channel  was  one  through  which  consider- 
able Miltonic  inflvience  from  Eden  reached  the  Englisli  imagination. 
Joseph  Warton,  in  his  Paper  on  the  Blemishes  in  The  Paradise  Lost 
(Adventurer,  Oct.  23,  1751),  laid  great  emphasis  upon  the  attractiveness 
of  Milton's  Eden.  Lord  Karnes  observed  tliat  "Milton,  describing  the 
Garden  of  Eden,  prefers  justly  grandeur  before  regularity,"  and  then 
quoted  liberally  of  Milton's  description.  (Elements  of  Criticism,  1762. 
ed  6th.  1785.  ii,  439).  James  Harris  (1709-80)  exalted  the  taste  of 
Virgil,  Horace,  and  "our  great  countryman,  Milton,"  in  connection  with 
the  delight  in  natural  scenery,  and  quoted  P.  L.  iv,  245ff  and  v,  292ff. 
(Works.    1841.    526).      This    was    in    a    chapter    "Concerning   Natural 


270  THE    illLTOK    TRADITION  [362 

Beauty."  One  may  compare  also  Thomas  Wliateley's  Observations  on 
Modern  Gardening  (1770)  for  additional  sentiment. 

There  was  a  rather  strong  tendency  to  describe  English  gardens  and 
landscapes  in  terms  of  Milton.  Something  akin  to  this  usage  appeared 
in  Dr.  William  Brome's  Epistle  To  .  .  .  Elijah  Fenton  (1726), 
thougli  the  reference  there  is  not  local.  (Chalmers,  Eng.  Poets,  12:18-19). 
Jesus  Grove,  Inscribed^  to  a  Lady  ( 1727 ) ,  was  written  by  Wra.  Bowman, 
Emmanuel  College,  Cambridge,  who  looked  upon  this  grove,  "And 
Paradise  still  opens  to  (his)  mind."  (Poems,  2  ed.  London,  1732.  1-17). 
Nathaniel  Cotton  (1707-88),  probably  as  early  as  1730,  wrote  the  follow- 
ing lines  On  Lord  Cobham's  Gardens.  (Elegant  Extracts,  1809.  Bk.  iv, 
No.  189)  : 

It  puzzles  much  the  sage's  brains, 

Where  Eden  stood  of  yore: 
Some  place  it  in  Arabia's  plains; 

Some  say  it  is  no  more. 

But  Cobliam  can  these  tales  confute, 

-As  all  the  curious  know; 
For  he  has  proved  beyond  dispute 

That  Paradise  is  Stowe. 

An  anonymous  Epistle  to  a  Bellow  Traveller  (Gent.  Mag..  May,  1735. 
5:265-6)  has  two  allusions  to  Milton,  and  a  note  which  says.  "The  gar- 
dens of  Eyford  are  thus  described  by  Milton  in  liis  i)aradise  lost,  lib.  3, 
who  wrote  part  and  dictated  tlie  rest  of  that  divine  j)oeiu  at  this  seat,  then 
belonging  to  the  D.  of  Buckinghamshire,  now  to  the  worthy  Wm. 
Waidey,  Esq."  King  William  visited  this  retreat  and  thought  it  "a 
I)lac('  out  of  the  world."  The  Rev.  Mr.  Cliamberlayne,  in  tlie  Gentle- 
man's Magazine,  December,  1741,  (11:661-2),  published  a  Poem  Occa- 
sioned by  a  View  of  Powers-Court  House,  the  Improvements,  Parks,  d'C, 
stating  that 

"Thus  Eden  springs  where  once  you  found  a  waste." 

Charles  Smith,  in  his  History  of  the  Count)/  of  Kerry,  has  a  quotation 
from  Paradise  Lost  (Bk.  iv)  applied  in  a  local  way  as  the  description  of 
a  beautiful  woods.  (Mo.  Rev.,  Dec,  1757.  17:506-520).  In  the  same 
manner,  Edw,  Stephens's  poem  On  Lord,  Balhurst's  Park  describes 
that  Park  as  "the  bounteous  Eden,"  in  terms  of  Milton.  (Poems.  1769. 
pp.  170-179). 

Gradually  it  came  to  be  a  matter  of  common  thouglit  tliat  Milton 
luid  furnished  a  i)attern  for  English  gardens,  and  tlie  adojjtion  of  his 
standards  was  even  insisted  upon.  One  nniy  find  sueli  titles  as,  Paradice, 
Rigaincd:  or,  the  Art  of  Gardening.    A  Poem,  (1728),  by  John  Law- 


363]  APPENDIX  271 

rence;  and  Eden:  or,  a  Compleat  Body  of  Gardening.  (Cr.  Rev.,  Sept., 
1758.  6:245-51).  There  seems  also  a  connection  between  Milton's  Eden 
and  the  following  works  of  Sir  Wm.  Chambers:  Essay  on  Chinese  Gar- 
dens (1757),  Description  of  a  Chinese  Garden  (1760),  and  a  Dissertation 
on  Oriental  Gardens  (1772).  The  intimacy  with  which  Milton  entered 
into  the  practical  thoughts  of  the  mid-century  English  gardening  may  be 
seen  in  the  following  paper,  by  Cambridge,  on  the  Advantages  of  Mod- 
ern Gardening,  which  appeared  in  The  World,  April  3,  1755: 

"I  am  particularly  pleased  with  considering  the  progress  which  a  just  taste 
and  real  good  sense  have  made  in  the  modern  modes  of  gardening."  The  author 
thought  that  "this  forced  taste  (of  France),  aggravated  by  some  Dutch  acquisitions, 
for  more  than  half  a  century,  deformed  the  face  of  nature  in  this  country."  He 
held  that  Sir  William  Temple,  in  his  "prophetic  spirit  points  out  a  higher  style, 
free  and  unconfined." 

"The  boundless  imagination  of  Milton  in  the  fourth  book  of  Paradise  Lost, 
struck  out  a  plan  of  a  garden,  which  I  would  propose  for  the  entertainment  and 
instruction  of  my  readers,  as  containing  all  the  views,  objects,  and  ambition  of 
modern  designing."  He  thought  that  "it  is  the  peculiar  happiness  of  this  age  to 
see  these  just  and  noble  ideas  brought  into  practice,  regularity  banished,  etc." 
(Brit.  Essayists,  1823.  V.  23,  No.  118). 

In  1757  an  anonymous  publication,  in  heroic  couplets,  appeared 
under  the  following  title :  The  Rise  and  Progress  of  the  Present  Taste  in 
Planting  Parks,  &c.,  from  Henry  VIII  to  King  George  III.  In  a  Poetical 
Epistle  to  the  Rt.  Hon.  Charles  Lord  Viscount  Irivin.  This  work  was 
said  to  have  complimented  Milton's  ideas  of  horticulture  at  the  expense 
of  those  of  King  William  and  Sir  Wm.  Temple.  (Cr.  Rev.,  June,  1767. 
23:460-1).  Mo.  Rev.,  Aug.,  1767.  37:139-144).  This  comparison  was 
cited  with  approval  by  Walpole,  in  his  Essay  on  Modern  Gardening 
(1785),  and  Temple  received  the  same  adverse  comparison  at  the  hands 
of  Mason  (English  Garden.  1772-82). 

Les  Saisons,  Poeme  (Amsterdam,  1769),  had  a  "Prefatory  Discourse 
on  Pastoral  Poetry,"  pronounced  "one  of  the  best  .  .  .  extant,"  in 
which  the  author  held  that  nature  may  be  exalted  by  displaying  "her 
at  the  moments  when  she  is  sublime,"  and  found  the  best  examples  of 
this  in  Milton's  description  of  Eden.  The  Book  of  Nature.  A  Poem 
(London,  1771),  thought  of  flowers,  etc.,  as  making  "a  Paradise  below." 

These  rather  unimportant  materials  were  followed  by  a  number  of 
formal  and  important  treatments  of  the  subject  of  gardening.  The 
English  Garden,  a  didactic  poem  in  blank  verse,  by  the  Rev.  Wm.  Mason, 
began  to  appear  in  1772.  The  poem  was  in  four  books,  which  were  pub- 
lished in  1772,  1777,  1779,  and  1782.  The  completed  work  contained 
the  general  principles  of  the  subject;  and  for  its  bearing  upon  Milton's 
influence  upon  gardening,  it  will  be  suificient  to  quote  one  sentence  from 


272  THE    MILTON    TRADITION  [364 

the  Monthly  Review  (46:219-226):  "As  lu-  has  styled  Bacon  the 
Prophet,  so  he  calls  Milton  the  Herald  of  true  taste  in  gardening ;  and 
he  here  copies,  from  the  Paradise  Lost,  the  charming  description  of  the 
Garden  of  Eden." 

Upon  this  influeuee  of  Milton  Horace  Walpole  became  somewhat 
eloquent  in  his  Essay  on  Modern  Gardening  (1785,  Works,  1798,  vol.  II, 
519-545).  After  attempting  to  explain  how  the  "model  of  Eden"  was 
lost,  and  how  gardens  liad  acquired  an  artificial  development,  he  con- 
tinued as  follows,  patriotically  contrasting  England  with  all  the  world: 

"One  man,  one  great  man  we  had,  on  whom  nor  education  nor  custom  could 
impose  their  prejudices;  who  'on  evil  days  though  fallen,  and  with  darkness  and 
solitude  compassed  round.'  judged  that  the  mistaken  and  fantastic  ornaments  he 
had  seen  in  gardens,  were  unworthy  of  the  Almighty  hand  that  planted  the  de- 
lights of  Paradise.  He  seems  with  the  prophetic  eye  of  taste  to  have  conceived, 
to  have  foreseen  modern  gardening;  as  Lord  Bacon  announced  the  discoveries 
since  made  by  experimental  philosophy.  The  description  of  Eden  is  a  warmer  and 
more  just  picture  of  the  present  style  than  Claud  Lorrain  could  have  painted  from 
Hagley  or  Stourhead.  (These)  lines  exhibit  Stourhead  on  a  more  magnificent 
scale  (P.  L.,  iv,  223-7).  Hagley  .seems  pictured  in  (iv,  227-30).  What  colouring, 
what  freedom  of  pencil,  what  landscape  in  (iv,  237-47)  !  Read  this  transporting 
description,  paint  to  your  mind  the  scenes  that  follow,  contrast  tliem  with  the 
savage  but  respectable  terror  with  which  the  poet  guards  the  bounds  of  his  Para- 
dise (iv,  134-142),  and  then  recollect  that  the  author  of  this  sublime  vision  had 
never  seen  a  glimpse  of  anything  like  what  he  has  imagined  (either  in  the  ancients 
or  the  moderns).  His  intellectual  eye  saw  a  nobler  plan,  so  little  did  he  suffer 
by  the  loss  of  sight.  It  sufficed  him  to  have  seen  the  materials  with  which  he 
could  work.  The  vigour  of  his  boundless  imagination  told  him  how  a  plan 
might  be  disposed,  that  would  embellish  nature,  and  restore  art  to  its  proper  office, 
the  just  improvement  of  imitation  of  it."  Mr.  W^ilpole  tliought  it  necessary  to 
have  an  affidavit  that  Milton's  description  "was  written  about  one-half  a  century 
before  the  introduction  of  modern  gardening,  or  our  incredulous  descendants  will 
defraud  the  poet  of  one-half  his  glory,  by  being  persuaded  tliat  the  poet  had  copied 
some  garden  or  gardens  he  had  seen,  ...  so  minutely  do  his  ideas  correspond 
with  the  present  standard." 

In  1790,  the  Abbe  de  Lille  published  The  (lardrn;  or.  The  Art  of 
Laying  Out  Grounds.  Translalid  from  the  French.  The  Critical  Review 
coniplained  that  this  author  took  no  notice  of  "Pope,  Thomson,  Gray, 
and  Mason,  to  each  of  whom  he  is  higldy  indebted.'"  (Cr.  Rov.,  Oct., 
1790,  70:409-414.)  The  author  did,  however,  devote  forty-four  lines  to 
Milton,  which  are  in  the  higliest  strains  of  praise,  as  may  be  seen  by 


365]  APPENDIX  273 

reference  to  Tribute  181.  Reviewing  a  later  edition  of  this  work  (1798), 
the  Monthly  Review  took  pride  in  saying:  "The  truth  is  that  the  Eng- 
lish taste  in  gardens,  and  laying  out  the  grounds  surrounding  villas, 
and  great  provincial  mansions,  was  suggested  by  Milton  (In  his  de- 
scription of  the  Garden  of  Eden),  by  Addison,  and  by  Pope,  and  was 
pursued  and  reduced  to  practice  by  Kent  and  Brown,  a  considerable 
time  before  even  tradition  had  carried  it  to  the  Continent.  We  were 
certainly  the  first  in  Europe  who  quitted  the  regular  style,  etc."  (Mo. 
Rev.,  March,  1799,  109(28)  :  294-301.) 

John  Aikin  (1747-1822),  in  an  essay  On  Milton's  Garden  of  Eden, 
as  a  Supposed  Prototype  of  Modern  English  Gardening  (1798-9),  en- 
deavoured to  show  "that  the  plan  of  Milton's  Paradise  is  appropriate 
to  it  as  a  peculiar  scene  in  creation,  and  by  no  means  was  intended  to 
serve  as  a  model  for  gardens  made  by  human  hands, — and  also,  that 
there  existed  various  poetical  descriptions  of  a  similar  kind  before  his 
time,  some  of  which  could  scarcely  fail  of  being  present  to  his  memory 

when  he  wrote It  was  his  business  to  paint  a  natural  scene, 

enriched  with  all  the  variety  of  delightful  objects  that  could  be  assem- 
bled in  one  spot." 

Aikin  then  attempted  to  find  the  "sources"  for  Eden  in  the  fields 
of  Enna,  the  grove  of  Orontes,  and  the  Mysian  isle,  which  are  used  by 
Virgil  and  especially  by  Claudian.  But  more  particularly  in  the  Italian 
poets,  the  favorites  of  Milton,  was  the  inspiration  of  the  English  poet. 
The  gardens  of  Alcina  by  Ariosto,  and  of  Armida  by  Tasso,  "may  be 
considered  as  the  true  prototype  of  the  terrestrial  Paradise."  (Letters 
of  a  Father  to  his  Son.    Letter  vi,  1798-9,  II,  99-113.) 

Aikin  argued  very  learnedly  on  this  subject,  and  perhaps  estab- 
lished his  contention  that  Milton  had  "sources"  and  also  that  Milton 
had  respect  to  art  rather  than  landscape  gardening  in  his  conception 
of  Eden.  But  all  that  may  be  granted  without  seriously  affecting  the 
influence  of  Milton's  imaginative  appeal  to  the  English  people  in  this 
connection.  Many  modifying  factors  are  involved  in  this  question  of 
the  change  of  taste  in  gardening,  and  exact  measurements  are  obviously 
impossible.  But  it  would  seem,  in  view  of  the  persistent  interest  in  this 
direction,  that  Milton's  description  of  Eden  must  have  been  among  the 
important  forces  that  influenced  the  change  of  taste  in  landscape 
gardening. 


274  THE    MILTON    TRADITION  [366 

APPENDIX  J       MILTON'S  MONUMENT,   GRAVE, 
AND    FAMILY 

Under  Whig  influences,  a  Monument  was  erected  to  Milton  in  West- 
minster Abbej',  in  tlie  year  1737 ;  though  sixteen  years  earlier  the  name 
of  Milton  had  not  been  permitted  to  appear  in  that  sacred  place  upon 
the  inscription  to  the  memory  of  another  poet.  The  donor  of  this  Monu- 
ment was  WiUiam  Benson,  better  known  as  Auditor  Benson.  He  was  a 
public  spirited  man,  with  sufficient  means  at  command  to  carry  out  at 
least  some  of  his  plans.  He  had  a  Milton  Medal  made ;  had  Rysbeck  to 
make  two  busts  of  Milton ;  and  later  gave  William  Dobson  £1,000  for  a 
Translation  of  Paradise  Lost  into  Latin  Verse,  which  appeared  in  1750- 
53  (p.  42  above). 

The  Gentleman's  Magazine  (April,  1738,  8:218)  gave  the  following 
notice  of  an  "Inscription  under  a  Bust,  carved  by  Mr.  Rysbeck,  lately 
put  up  in  Westminster  Abbey  between  Butler  and  Prior: 

MILTON 
In  the  Year  of  Our  Lord  Christ,  One  Thou- 
sand Seven  Hundred  and  Thirty-seven. 
This  Bust  of  the  Author  of  PARADISE 
LOST  was  placed  here  by  William  Benson, 
Esq. ;   one  of  the  two  Auditors  of  the   Impress 
to  his  Majesty  King  George  III.,  formerly  Surveyor 
General  of  the  Works  to  his  Majesty  King  George  I. 

To  the  Author  of  Paradise  Lost!  The  only  i)rotest  against  that 
Inscription  to  Milton  was  that  the  donor  had  devoted  more  space  to  him- 
self than  to  the  great  Poet.  But  Milton  himself  was  felt  to  be  suffi- 
cientlj'  honoured  in  being  described  as  the  Author  of  Paradise  Lost. 

By  this  hajjpy  honouring  of  Milton,  Benson  immortalized  his  own 
name,  not  only  among  the  illustrious  dead,  but  also  in  the  grateful 
hearts  of  the  living.  Birch  spoke  of  this  Monument,  while  the  plans  of 
its  erection  were  being  carried  out,  in  the  higliest  terms  of  praise  {Life 
of  Milton,  ed.  1738,  I,  p.  Ixiii)  ;  as  did  also  most  of  Milton's  biographers 
after  Birch.  Sixty  years  later,  Joseph  Warton,  in  his  edition  of  Pope's 
Works  (1797),  spoke  of  Benson  as  having  "rescued  his  country  from 
the  disgrace  of  having  no  monument  erected  to  the  Memory  of  Milton 
in  Westminster  Abbey."  (Cr.  Bev.,  Jan.,  1798,  n.  s.  22:10-18.)  A 
Letter  to  Mr.  Mason.  Occasioned  bi)  Im  Ode  to  Independency  (1756) 
was,  however,  thought  to  have  gone  out  of  its  way  to  make  "some  severe 
and  ill-timed  reflections  on  IVlilton's  jiolitical  principles,  entiri^ly  foreign 
to  his  subject,"  with  a  tirade  against  Milton's  "(\'iiotaph  of  late 
erected  ....  in  Westmin.ster  Abbey."     (Cr.  Rev.,  June,  1756,  1:481.) 


367  ]  APPENDIX  275 

Another  matter  of  much  interest  in  connection  witli  the  erection 
of  this  Monument,  was  The  Apotheosis  of  Milton.  A  Vision,  which  ran 
through  several  numbers  of  the  Gentleman's  Magazine  in  1738  (8:232, 
469,  521;  9:20,  73).  This  was  said  to  be  the  work  of  Wm.  Guthrie 
(Mo.  Rev.,  July,  1787,  77:69),  though  it  was  included  by  Sir  John 
Hawkins  in  his  edition  of  Dr.  Johnson's  Works  (1787,  vol.  xi). 

Guthrie  (1708-1770)  represented  himself  as  shut  up  for  the  night 
in  the  melancholy  gloom  of  Westminster  Abbey.  The  Vision  which 
appeared  to  him  was  announced  in  these  words :  ' '  Tonight  an  assembly 
of  the  greatest  importance  is  held  upon  the  admission  of  the  Great 
Milton  into  this  society."  "This  society"  appeared  in  council,  each 
member,  in  a  characteristic  manner,  discussed  the  claims  of  Milton  to 
membership,  and  Addison,  with  some  assistance,  introduced  Milton  to 
the  august  assembly.  Another  matter  of  similar  import  was  An  Elec- 
tion in  Parnassus,  a  Dream,  by  "J.  Nightmare,"  dated,  "Oxford,  June 
7,  1754."  The  main  issue  of  the  election  was  the  question  of  Epic 
Poetry.  There  were  three  candidates  in  the  field.  When  the  ballot  was 
counted,  Homer  had  24,  Virgil  12,  and  Milton  12.  (Gray's  Inn  Jour- 
nal, No.  86.    Drake's  Gleaner,  1811,  No.  1000,  2:395-404.) 

The  Monument  has  one  more  point  of  interest  in  connection  with 
the  inscription  to  Gray  in  the  Abbey.  Chalmers  (Eng.  Poets,  18:338) 
added  the  following  note  to  Mason's  lines  On  Mr.  Gray,  in  Westminster 
Abbey  (Tribute  154)  :  "The  cenotaph  is  placed  immediately  under  that 
of  Milton,  and  represents,  in  alto  relievo,  a  female  figure  with  a  lyre, 
as  emblematical  of  the  higher  kinds  of  poetry,  pointing  with  one  hand 
to  the  bust  above,  and  supporting  with  the  other  a  medallion,  on  which 
is  a  profile  head  inscribed,  "Thomas  Gray."  On  the  plinth  is  the  fol- 
lowing date:  "He  died  July  31,  1771."  While  reading  the  Tribute, 
one  should  remember  that  Milton  is  there  "the  Author  of  Paradise 
Lost." 


The  Grave  of  Milton  was  not  without  some  interest  in  the  Eight- 
eenth Century.  Milton  was  buried  in  the  St.  Giles  Church-yard.  In 
connection  with  his  Life  of  Milton  (1725),  Fenton  imdertook  to  identify 
the  Poet 's  Grave ;  but  the  sexton  then  in  charge  of  the  Church-.yard  had 
not  been  able  to  read  the  inscription  on  the  supposed  grave  of  Milton 
for  the  past  forty  years  (P.  S.  to  the  Life). 

In  1790,  however,  the  supposed  Grave  of  Milton  was  broken  open, 
the  sacred  remains  exposed  to  public  gaze,  and  some  teeth  and  bones 
(according  to  some)  actually  sold  as  precious  relics.  (Mo.  Rev.,  Nov., 
1790,  3:350).  Le  Neve  wrote  A  Narrative  of  the  Disinterment  of  Mil- 
ton's Coffin,  in  the  Parish  Church  of  St.  Giles's,  Cripplegate,  on  Wednes- 
day, 4th.  of  August,  1790.     (Cr.  Rev.,  Sept.,  1790,  70:343.)     But  the 


276  THE    MILTOX    TRADITION  [368 

remains  thus  exposed  were  thought  to  be  the  boues  of  a  woman.  Capel 
Lofft,  in  his  edition  of  Paradise  Lost  (1792),  seems  to  have  credited  the 
exposure  as  genuine,  and  spoke  of  it  as  a  "sordid  mischief.'"  (Todd's 
Life  of  Milton,  1826,  p.  219.)  The  poet  Cowper  took  the  matter  se- 
riously enough  to  heart  to  write  Stanzas  On  the  Late  Indecent  Liberties 
Taken  with  the  Remains  of  Milton,  anno.,  1790.  (The  Ptl.  Wks.  of 
IV—  C—,  3  vols.,  1896,  ed.  J.  Bruce.  Ill,  387-8.) 

Me  too.  perchance,  in  future  days,  Who  then  but  must  conceive  disdain, 

The  sculptured  stone  shall  show.  Hearing  the  deed  unblessed 

With  paphian  myrtle,  or  with  bays  Of  wretches  who  have  dared  profane 

Parnassian,  on  my  brow.  His   dread   sepulcher   rest? 

But  I,  or  ere  that  season  come.  111  fare  the  hands  lliat  heaved  the  stones 

Escaped  from  every  care.  Where  Milton's  ashes  lay. 

Shall  reach  my  refuge  in  the  tomb.  That  tremble  not  to  grasp  the  bones 

And  sleep  securely  there.  And  steal  his  dust  away ! 

So  sang,  in  Roman  tone  and  style,  O  ill  rcquitted  bard  !  neglect 

The  youthful  bard,  ere  long  Thy  living  worth  repaid. 

Ordained  to  grace  his  native  isle  And  blind  idolatrous  respect 

With   her   sublimest   song.  As  niucli  affronts  thee  dead. 

".August,    1790."* 


Milton's  daughter,  Mrs.  Clark,  and  her  daugliter,  Mrs.  Elizabeth 
Foster,  were  objects  of  charity,  toward  whom  the  English  people,  in  a 
semi-national  way,  expressed  their  regard  for  the  great  Poet. 

JMrs.  Clark  was  visited  by  Addison  in  1719.  wl\o  recognized  her 
from  her  likeness  to  Milton's  picture,  with  which  Addison  was  very 
familiar.  Seeing  her  needs,  he  appealed  to  a  few  friends  for  help,  and 
presented  her  witli  a  purse  of  guineas.  He  also  promised  to  procure 
her  an  annual  {)rovision  for  lier  life;  but,  h(>  dying  soon  after,  she  lost 
the  benefit  of  this  generous  design.  (Addisoniana,  1803,  1,  158-9;  II, 
149.) 

Some  years  later.  Queen  Caroline,  wlio  was  tlun  the  Princess  of 
Wales,  generously  bestowed  ui)on  Mrs.  (Mark  help  iiceiiuse  she  was  in 
extremely  reduced  circumstances.  Aaron  Hill,  speaking  of  this  "Royal 
Regard  for  the  Daughter  of  Milton,"  said:  "Tlie  Queen  woidd  atone, 
and  propitiate  for  the  Nation  !  She  would  do  too  mudi  Honour  to  the 
Daughler,  (who,  1  think,  claim "d  no  Hereditary  Bi-iglitness)  because 
too  little  had  l)een  done  to  tile  Father,  by  spirits  less  capable  to  know, 
and  distinguish  liim."  {Kpistlr  Dedieatori/,  Advice  to  th<  I'octs,  1731, 
p.  xiv.)     Other  references  to  the  Qtieen's  generosity  may  be  found  in 

*Cf.  Tribute  182,  p.   ini   above. 


369]  APPENDIX  277 

Birch's  Life  of  Milton;  Newton's  Life  (li)  ;  Notes  to  Candour  (Trib. 
65)  ;  Warton's  Milton  (1791,  Introduction).  See  Mo.  Rev.,  Feb.,  1764 
(30:159)  for  some  other  matters. 

Mrs.  Elizabeth  Poster's  destitute  circumstances  called  forth  a  pub- 
lic benefit  in  1750.  Newton's  treatment  of  Milton's  family  (Life,  1749) 
occasioned  some  corrections  from  William  Lauder,  who  emphasized  the 
poverty  of  Mrs.  Foster,  Milton's  own  grand-daughter,  as  a  pai't  of  his 
own  scorn  for  England's  blindness  in  worshiping  Milton.  This  cor- 
rection appeared  in  Lauder's  Essay  on  Milton's  Use  and  Imitation  of 
the  Moderns  (1750),  to  which  Johnson,  it  seems,  added  an  appeal  in 
behalf  of  Mrs.  Foster.  This  appeal  was  printed  in  the  Gentleman's 
Magazine,  and  public  interest  was  immediately  aroused. 

Dr.  John  Dalton  was  also  a  prime  mover  in  bringing  these  plans 
in  her  behalf  into  definite  form,  according  to  the  Monthly  Review 
(March,  1797),  22:329).  It  was  therein  said,  that  Dalton  was  "known 
both  as  a  poet  and  divine,  but  also  remarkable  for  preparing  for  the 
stage  the  Comus  of  Milton,  and  with  great  industry  searching  for  Mil- 
ton's grand-daughter,  oppressed  by  age  and  poverty,  and  procuring  for 
her  a  benefit  at  Drury-Lane  Theatre  in  1738,  the  profits  of  which  were 
considerable."  The  date  here  given  is  an  obvious  mistake  for  1750, 
when  Comus  was  performed  for  her  benefit.  The  event  may  be  briefly 
told  in  the  words  of  Edward  Cave,  editor  of  the  Gentleman's  Magazine, 
who,  with  the  other  prominent  London  printers  (Dodsley,  Cox  and  Col- 
lins, Payne  and  Bouquet),  received  subscriptions  and  sold  the  tickets. 
Cave  said  (Gent.  Mag.,  20:152)  : 

"The  intimation  of  her  need  was  made  by  Lauder.  Johnson  sug- 
gested the  plan  to  Garrick.  Garrick  and  Lacy,  managers  of  Drury 
Lane,  furnished  the  Theatre  free  of  rent.  All  concerned  in  Milton's 
Works,  and  others  of  rank  and  distinction,  contributed.  Johnson  wrote 
the  prologue  (which  was  spoken  by  Garrick),  (afterwards  printed  for 
her  benefit  (Trib.  93).  The  4th.  (of  April)  was  the  time  set,  but  un- 
favourable circumstances  hindered  large  success,  and  the  play  was  given 
again  on  the  5th." 

Dr.  Ne^\■ton  subscribed  liberally,  and  Tonson  gave  £20.  The  whole 
income  amounted  to  about  £130,  which  enabled  Mrs.  Foster  to  move  into 
a  better  home  and  spend  in  comfort  the  remainder  of  her  years,  which 
were  very  few. 

Walpole  had  a  hand  in  this  affair,  and  spoke  of  it  later  with  some- 
thing like  national  pride.  Writing  in  The  World  (No.  8,  Feb.  22,  1753, 
Br.  Essayist,  1827,  16:32-86),  he  said,  in  words  designed  to  recommend 
the  luifortunate  Theodore,  King  of  Corsica,  to  the  liberality  of  the 
public : 

"Who  ever  perused  the    stories    of    Edward    II,  Richard    II,  or 


278  THE    MILTON    TRADITION  [370 

Charles  I,  but  forgot  their  excesses,  and  sighed  for  their  catastrophe? 
In  this  free-spirited  island  there  are  not  more  hands  readj'  to  punish 
tyrants,  than  eyes  to  weep  their  fall.  It  is  a  commou  care:  we  are  Ro- 
mans in  resisting  oppression,  very  women  in  lamenting  oppressors!" 
Then  recommending  a  benefit  play  for  the  fallen  king,  Walpole  said, 
"that  the  same  human  and  polite  age  raised  a  monument  to  Shake- 
speare, a  fortune  for  Milton's  grand-daughter,  and  a  subsidy  for  a  cap- 
tive king.'"  In  that  laudable  connection,  he  very  properly  alluded  to 
Garrick,  as  "that  incomparable  actor  who  so  exquisitely  touches  the 
passions  and  distresses  of  self -dethroned  Lear." 

Thomas  Warton  did  not,  however,  feel  so  well  about  the  results  of 
this  benefit,  some  forty  years  later.  In  that  interesting  Appendix  to 
the  Preface  to  his  edition  of  Milton's  Poems  on  Several  Occasions  (ed. 
1791,  xli),  Warton  referred  to  this  Comus  affair  (1750)  with  an  evident 
sense  of  humiliation.  The  sum,  he  said,  was  "oulj^  130  pounds."  He 
ventured  to  afiSrm  that  "the  present  age,"  with  its  advancement,  would 
do  far  more  for  a  grand-daughter  of  "the  Author  of  Comus  and  Para- 
dise Lost." 

Probably  this  constant  brooding  over  the  treatment  of  Milton  in 
his  later  life,  rendered  more  keenly  conscious  to  the  English  people  by 
these  public  favours  to  his  family  in  distress,  did  as  much  as  any  other 
force  to  create  in  England  a  growing  sentiment  for  the  proper  support 
of  English  authors.  This  sentiment  Mas  strong,  and  took  on  a  practical 
expression  in  the  end  of  the  Eigliteenth  Century,  as  will  appear  from  the 
following  paragraph,  taken,  through  the  Critical  Revietv  (Jan.  1796, 
n.  s.  16:119-20),  from  A  Dictionary  of  Literary  Curiosities  (8vo.,  Ridge- 
way,  1795)  : 

"They  who  suppose  it  (Literature)  will  confer  riches,  are  deceived; 
genius  seldom  enjoys  the  favours  of  fortune,  the  ju-ofits  of  authors  do 
not  keep  pace  with  their  reputation.  Melancholy  is  tlie  catalogue  of 
men  of  letters  who  have  pined  in  misery,  and  sunk  under  the  pressure 
of  indigence.  Painful  reflection !  The  philanthropick  George  Dyer,  in 
his  J)iss(  rtation  on  the  Theory  and  Practice  of  B(  n(  voh  nee,  lias  treated 
this  subject  with  energy  and  feeling.  To  the  honour  of  Literature  in  this 
country,  a  Society  to  Support  Authors  in  Distress  has  been  instituted 
within  these  two  years.  Many  ingenious,  unfortunate  nu-n,  have  re- 
ceived assistance  from  it.    Mav  its  influence  extend!" 


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Milton's  Works 

1  Full  account  with  lists  of  editions  may  be  found  in  Chapter  II 

2  Chief  Sources  of  Editions 

1  Cat.  Brit.  Museum  and  Supplement. 

2  Masson's  Life  of  Milton. 

3  T.  Warton,  Milton's  Poems,  &c.    2.  ed.,  1791.    606-608. 

4  Dictionary  of  National  Biography. 

5  Encyclopedia  Britannica.    Ed.  191 1. 

6  T.  Birch,  Life  of  Milton,  prefixed  to  A  Comp.  Col.  of  the    (Prose) 

Works  of  J.  M.  London,  1738.    xlvi,  ff. 

7  R.  D.  Havens.    Englische  Studien.    40:175-199. 

8  H.  A.  Beers,    Eng.  Romance  in  i8th.  Century,    ch.  V. 

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1732.  Preface. 

12  Historia  Litteraria.     2  vol.     1730. 

13  H.  J.  Todd.     Poetical  Works  of  Milton.    2nd  ed.  1809.    Vol.  I. 

14  Trade  Catalogues,  &c. 

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Allison,  Wm.  Talbot.    The  Tenure  of  Kings  and  Magistrates.    Yale  Stud- 
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279 


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Barbauld,  Anna  L.    Works.    2  vols.    London.     1825. 

Works.    3  vols.     Boston.    1826. 
Coleridge,  S.  T.     The  Complete  Works.     7  vols.     Prof.  Shedd.     Harpers, 

New  York.     1868. 
Gibbon,  Edw.     The  Miscellaneous  Works.     5  vols.     London,  Murray.     1814. 
Goldsmith,  Oliver.     The  Works.     4  vols.     (Peter  Cunningham.)     Murray. 

London.     1854. 

The  Works.    4  vols.     (J.  W.  M.  Gibbs.)     Bohn  Edition. 
Gray,  Thos.     The  Works  of  Thomas  Gray  in  prose  and  verse,  ed.  by  Ed- 
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Harris,  Jas.    The  Works  of  James  Harris,  Esq.    With  Life  and  Character. 

Oxford,  1841.     By  his  son,  the  Earl  of  Malmesbury. 
Hearne,  Thomas.     Reliquiae  Hearnianiae :     The  Remains  of  Thos.  Hearne, 

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Hurd,  Richard,  D.D.     Works.    8  vols.     London.     i8n. 
Johnson,    Samuel,   LL.D.     The   Works.  .  .  .     By   the   Rev.   Robert   Lynam, 

A.M.    6  vols.    London.    1825. 
Leslie,  Chas.    The  Theological  Works.    7  vols.     Oxford.     1832. 
Lyttelton.  George,  Lord.     The  Works.     3  vols.     London,  Dodsley.     i"76. 
Mason,  Wm.     Works.     London.     4  vols.     181 1. 

Pope,  Alexander.  Works.  10  vols.  London.  i88g.  Edwin-Courthope  Ed. 
Scott,  Sir  Walter.  The  Works  of  John  Dryden— With  Life.  London.  1808. 
Shenstone,  Wm.    The  Works  in  Verse  and  Prose.     5th.  ed.     1777.    3  vols. 

Dodsley. 
Swift,  J.    Works.    Edinburgh.     1814.     Sir  Walter  Scott  Edition. 
Temple,  Sir  Wm.     Works.     Ed.  by  T.  Swift.    London.     1720. 
Villiers,    George,    Duke    of    Buckingham.     The    Works.     2    vols,      3rd.    ed. 

London.     1715. 
Walpole,  Horace,  Earl  of  Oxford.    The  Works.    5  vols.    Robinsons,  London. 

1798. 
2    After  1801 

Ames.   Percy  W.,  Eil.     .\Iillon  Memnrial  Lectures,   1908.     London,  Frowde. 

1909. 
Arnold,  Matthew.     Essay  on  Milton. 
Bagehot,  Walter.     Literary  Studies.     2  vols.,  ed.  of   1884.     By  Richard  H. 

Hutton.    Written  1859.     London.     Lyman. 
Birrell,  Augustine.     Obiter  Dicta.     Second  Series.     Scribners,  N.  Y.     1893. 
Coleridge,  S.  T.     Biographia  Literaria.     Edited  with  his  Aesthetical  Essays 

by  J.  Shawcross.    2  vols.    Oxford.    Clarendon.     1907. 

Seven  Lectures  on  Sliakespcare  and  Milton,     1856. 
Collins,  John  Churton.    Studies  in  Poetry  and  Criticism.    London,  Bell.    1905. 
Dixon,  W.  Macncile.     Tn  the  Republic  of  Letters.     London.     1898. 
Dowden,   Edw.     Milton  in  the  F.ightccnth  Century   (1701  50),     Read  at  the 

Milton  Tercentenary — 1908. 
Hitchnian,  Francis.     18th.  Century  Essays.     London.     1881. 


I 


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Jeffrey,  Francis.     Contributions  to  the  Edinburgh  Review.     4  vols.     London. 

1844. 

Jusserand,  J.  J.     English  Essays  from  a  French  Pen.     London,  Union.     i8gS. 

Robertson,  J.  G.  Milton's  Fame  on  the  Continent.  Read  at  Milton's  Ter- 
centenary,  1908. 

Tomlinson,  J.    3  Household  Poets:  Milton,  Cowper,  Burns.     1869. 

Trent,   Wm.   P.     Milton   after  300   Years.     Longfellow   and   other   Essays. 
New  York.     Crowell.     1910. 
3     Studies  in  Poetry  and  Versification 

1  Details  in  Chapters  V-VII 

2  Other  Studies 

Beaching,  H.  C.  On  the  Prosody  of  Paradise  Regained  and  Samson  Ago- 
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Blount,  Sir  Thomas  Pope.  De  Re  Poetica  ;  or  Remarks  upon  Poetry.  With 
Characters  and  Censures  of  the  Most  Remarkable  Poets,  whether  An- 
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Bridges,  Robert.     Milton's  Prosody^ 

Brown,  Warner.  Time  in  English  Verse  Rhythm.  Col.  Thesis.  N.  Y. 
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Bysche,  Edw.    The  Art  of  English  Poetry.     4th.  ed.    3  vols.    London.     1710. 

Dabney,  J.  P.    The  Musical  Basis  of  Verse.    Longmans,  London,  1901. 

Guest,  Edwin.  A  History  of  English  Rhythm.  New  ed.  by  Rev.  W.  W. 
Skeat.    London,  G.  Bell  &  Sons.     1882. 

Gildon,  Chas.    The  Complete  Art  of  Poetry.    2  vols.    London.     1718. 

Lewis,  Charlton,  M.  The  Foreign  Sources  of  Modern  English  Versification. 
Yale  Thesis.     New  York,  Holt.     1898. 

Liddell,  Mark  H.  An  Introduction  to  the  Scientific  Study  of  English 
Poetry.    London.     G.  Richards.    1902. 

Mayor,  Jos.  B.  Chapters  on  English  Metre.  2nd.  ed.  Revised  and  En- 
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Miller,  Raymond  Durbin.  Secondary  .Accent  in  Modern  English  Verse 
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1904. 

Neilson,  Wm.  Allen.  Essentials  of  Poetry.  Lowell  Lectures,  191 1.  Bos- 
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Poole,  Joshua.     The  English  Parnassus.     Ed.  1677. 

Richardson,  Chas.  F.     A  Study  of  English  Rhythm.     Hanover,  N.  H.     1909. 

Saintsbury,  George.     A  History  of  English  Prosody.     From  the  12th  Cen- 
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Schipper,  Jacob.     A  History  of  English  Versification.     Oxford,  Clarendon 
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F    Miscellaneous 

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Faculty,  Col.  Univ.  Lectures  on  Literature — 1909-10.  Col.  Univ.  Press, 
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Forman,  H.  Buxton.  The  Poetical  Works  and  other  Writings  of  John 
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Gummere,  Francis  B.  Democracy  and  Poetry.  Boston  &  N.  Y.,  19U. 
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Halkett,  Samuel,  Laing,  Rev.  John.  A  Dictionary  of  the  Anonymous  and 
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Lee,  Vernon.    Studies  of  the  i8th.  Century  in  Italy. 

Lockwood,  Laura  E.  Lexicon  to  the  English  Poetical  Works  of  John  Mil- 
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Mackail,  J.  VV.     Coleridge's  Literary  Criticism.     London.     1908. 

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Payne,  Thos.,  Jr.  Catalogue  of  the  Library  of  the  late  Right  Rev.  Thos. 
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Reynolds,  Myra.  The  Treatment  of  Nature  in  English  Poetry  Between 
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Rousseau,  J.  J.     Oeuvres  Completes  de  J.  J.  Rousseau.     Paris,  1824. 

Warton,  Thos.  Observations  on  the  Fairy  Queen  of  Spenser.  2  vols.  Lon- 
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383]  BIBLIOGRAPHY  291 

G    Milton  and  Education 

1  Bibliography.     Appendix  H. 

2  Later  Discussions 

Browning,  Oscar,  of  Edinburgh.  To  Master  Samuel  Hartlib  (1644).  Cam- 
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Laurie,  Prof.    Addresses :    John  Milton. 

Milton's  Plan  of  Education,  in  The  Pamphleteer.    Vol.  17.     1813. 

Quick,  Robert  Herbert.  Essays  on  Educational  Reformers.  Ed.  1897. 
Appleton,  N.  Y. 

Reber,  Joseph  von,  John  Milton's  Essay  Of  Education.  In  German  Trans- 
lation.   Aschaffenberg.    1892. 

Seeley.    Lectures  and  Addresses :    Milton. 


GENERAL    INDEX 


Abel,  death  of    22' 
Achilles     205 
Addison,  J. 

Aided  Mrs.  Clark    276 

Allegro     141 

Criticized  160  179  193  195  207  219 
256-259 

Critique  11-12  13  16  64  65  90  127  150 
152-1SS  176  193  194  197  252  256-259 
260  261  269  275 

Death     65 

Discovery  of  Milton  13  58  65  90  152- 
155  256-259 

Mentioned     70  180  273 

Spec.  Papers    q.v. 
Adreino     156  261 
Aeschylus     261 
Aiken,  J.     138  234  273 
Akenside,  M.     72  73  78  82  87  90  105  117 

195  198  233  239  261 
Allegory     22  154  158  193 
America     26  94  98  104   107   109   174  175 
Anderson,  J.  P.     17  43 
Anderson,  R.     27  136 
Angelo,  M.    31 
Anstey,  C.    90  93  96  231  232 
Areopigitica     q.v. 
Arianisin     259  260 
Ariosto     146  273 
Aristocracy  of  worth     245 
Aristotle    96  135  155  171  211  219  240  258 
Armstrong,  Dr.  J.     31  79  172  184  205 
Arnc,  Dr.    3-  168 
Arnold,  M.    241  247 
Arthur,  King     126  237  238  243  cf.  251 
Arts  and  Sciences     227-228 
Ashenhurst,  Dr.     178 
Atterbury,  Bp.  Fr.     I2-'  142  144  158  165 
Aubrey,  J.     112  113  144 
Augustan  Standards     15   18  21   58  67  76 
93    145    146   149   150   151-155   160-166 
172  194  198  206  219 
Avlmer,  B.     28  45-46  143 
"A.  Z."     177  178 

Babylonish  Captivity     242 

Bacon,  Ld.     131   137  154  255  272 

Bacon,  Fryer    259 

Bagot,  W.    234 

Barbauld,  A.  L.    14  107  258 

Baron,  Rich.    44  45  47  174  175  224 

Baron,  Robt.     141 

Baretti,  G.     156  261 

Barro,  S.     S3  144 


293 


Battle  of  Angels     54  55  56  57  58  59  61 

62  63  65  69  72  73  81  89  95  97  98  99 

103  107  148  193 
Bavius     177  188 
Bavle,  P.     125  n.24  132 
Beattie,  J.    42  87  209  211  230  239  241  266 
Beaumont-Fletcher     20   173   196  204  216 
Beers,  H.  A.     17   18   19  22  170  222  230 

237  238  268 
Bell,  J.    26  35  36  37  n-i  137 
Beljame,  A.     13 
Benson,  W.     16  21  164  180  274 
Bentley,   R.     25  42  78   167    176    179   182 

190  200  201 
Berington,  J.     189 
Bible.  The     13  31  64  104  117  138  185  190 

198  200  220  222  240  241  242  246  261 
Bidlake,  J.     104 

Biographies,  v.    "Contents,"  "Lives." 
Birch,  T.     16  21   44  47   117   124-127   132 
141   144  158  168  174  180  183  224  274 
277 
Bishop,  S.    86  206 
Blackall,  O.     117  n.io 
Blackburne,  Fr.    21  46  47  48  174  213  224 
Blacklock,  T.    81  254 
Elackmore,  R.    11  12  63  75  199 
Blackstone,  Sir  W.    70 
Bladon,  R.    26  217 
Blair,  H.     170  199 
Blair,  R.     20  202 
Blake,  W.     31  260 
Blank  Verse — 
Controversy    84  86  134  147  160-166  ig6 

199  200-208  230-240 

Defended     93   106  141   160-166  201-206 

230-234 
Exalted    106  109  157  175  194 
Historical  appeal     201-202  203-204  206 
Issues  of  202 

Milton  vs.   Dryden     160-166 
Re-action  in  Form     18  19  74  163  164 

207  230  239 
Reviews  on    (Monthly)  202  203  210  232 

(Critical)    202-203   230   232   236   241 

258 
Triumphant     234 
Used     175  185  186  i8-7  271 
Verse,  The  q.v. 
Blindness    53  68  72  79  81  95  102  103  104 

107  109  112  116  118  119  120  122  123 
Blindness  compensated    54  64  94  150  187 

n.8i  252-255  272 
Blount,  Sir  T.  P.    63  116  147-148 


294 


THE   MJOiTON   TRADITION 


[386 


Bodmer,  J.  J.    30  31  257 

Boerhadem,  J.     213  260 

Boileau     197 

Bold,  M.    42  185 

Bolingbroke,  Ld.     158 

Bonaparte    226 

Bonneval,  L.     185 

Bossu     155  258 

Bowie,  J.     191 

Bowles,  W.  L.    20  103  106 

Bowman,  W.    270 

Boyd,  H.    262 

Boydell,     31  137 

Boyse,  S.    70  168  239 

Bradshaigh,  Lady    175  193 

Bramston,  J.     67 

Breitinger,  J.  J.     30  31 

"Britannicus"    65 

Brooke.  H.     262 

Broome,  W.     121  270 

Brown,  J.     70 

Brown,  T.     255 

Browne,   Sir  T.     221 

Browne,  V.    269 

Browne,  W.     212 

Bruce,  M.    91 

Brunswick     74 

Brydges,  Sir  S.  E.     107 

Budgell,  E.     157  257 

Buchanan,  C     127  132  212 

Buchanan,  J.     217 

Buckhurst,  Ld.     16 

Buckingham,  Dk.     14  55  163  194  270 

Bunyan,  J.     13  222 

Burke,  E.    46  195-198 

Burnet,  G.     118  214 

Burns,  R.     104 

Burton,  R.     20  173 

Busts  of  Milton    74  87  103  274 

Butler,  S.     14  53  113  182  196  274 

Byrom,  J.     189  203 

Bysshe,  E.     157  234  251  269 

Bywater,  J.    247 

Cadell,  T.     29  33 
Callander,  J.     182 
Calvinism    220 
Campbell,  G.    211 
Campbell,  T.     18  211  254 
Canada     85 
Caiming.  G.     215  258 
Carlyle,  T.     133  240  245 
Caroline,  Qu.     176-179  276 
Catholic    220  24s  259 
Cato    74  77  los 
Catsius,  J.     145 
Cave,  E.    186  188  191  277 
"C.  B."    189 
Cestre,  C.    20 


145 


10  19s 

78  98  99  no  212 


Chambers,  W.     271 

Chamberlayne,  270 

Charles  L    53  59  69  109  112  113  115  117 

118  122  130  132  177  214  226  278 
Charles   IL     14   15  44   100   131    132 

214  226 
Chatham    94 
Chatterton,  T.    94 
Chaucer     17  70  79  11 
Chesterfield,     183 
Children  and  Milton 
Chivalry     237 
Chudleigh,  Lady  Mary     60 
Church,  The     125  220  225-226  229  242- 

245  259 
Churchill,  C.    87  138  234 
Cibber,  Th.    75  129  257 
Civil  War     128  223  225  241  244 
Clark,  Andrew     113 
Clark,  J.     179 
Clarke,  Mrs.     176  276-278 
Classicism     148  158  160  174-175  196  199 

200-202  204-205  221  223  237 
Cobham,  Ld.  v.     "Sir  R.  Temple" 
Coleridge,  S.  T.    204  218  237 
Collier,  J.     148 
Collins,  J.  C.     119  156 
Collins,  W.    20  22  75  173  194  239 
Colman,  G.    35  36-37  204 
Colvill,  J.     204 
Colvill,  R.     82 
Combernack,  R. 
Comminges,  C. 
Commonwealth 

223  245  257 
Companion  Poems     19  20  21  38-40  43  8l 

84  85  98  121  127  136  141  142  153  l6g- 

173  198  201  210  216-217  219  239  268 
Comus    29  35-37  43  76  94  95  115  117  121 

125  126  127  128  130  1.^6  138  139  141 

151    168-160  i70-i-:i   210  211   212-213 

214  215  216-217  219  236  245  277-278 
Congreve,  W.    61  67  141   194  195 
Contract  for  P.  L.     14  16  28  29  192 
Controversies,  v.     "Contents" 
Cooper.  J.  G.     194 
Copleston,  E.     217 
Copyright     23  255-256 
Corbett,  C.    47-48 
Cornwallis,  Earl    98 
Cotton.  N.    ;8  270 
Couplets    20  71   106  14T  160-166  176  200- 

208  230  ff.  2.^8  239  248  262  271 
Courthope,  VV.  C.    13  19 
Courtney,  Miss     79 
Coiiventry,  I'r.     268 
Cowley,  A.     17  55  60  66  75  142  145  194 

195  2T3 


12  267 


203 
146 
114  115  118  122  123  160 


3871 


GENERAL    INDEX 


295 


Cowper,  VV.  27  31  41  51  57  60  74  96  99 
loi  105  137  195  2ii  213  218  234  267 
276 

"C.  R."    190 

Craddock,  Fr.     53 

Crawford,  C.     94 

Criticism,   Milton's     235-236 

Cromwell,  O.  78  109  113  116  122  127 
132  133  136  225 

"C.  T.  O."     216 

Cumberland,  R.     209  220 

Cunningham,  J.     90  171 

Cust,  L.    31 

D'Alembert,  M.    25  q 

Dalton,  J.     35-37  168  277 

Dante    31  no  156  246  262 

Darwin,  E.    233  255 

Davenant,  W.     112  131 

Davies,  S.    69 

Dawes,  R.    42 

Death,  Vision  of  in   P.  L.     154  158  180 

193  223  227 
Debrett,  J.  94  195 
Delany,  P.     65 
Democracy    46  134  229  242 
Denham,  Sir  J.     40  60  194  200  238 
Dennis,  J.     11-12  148-150  155  159  248 
Descriptive  poetry    238 
Didactic  poetry    240 
Diderot,  D.    255 
Dillon,  W.    56  60  164  165 
Dixon,  W.  M.     19 
Dobson,  W.     42  43  192  274 
Dodd,  W.     197  257 
Doddington,  G.  B.     170 
Dodsley,  J.    29 
Dodsley,  R.    37  75  277 
Donne,  J.     IQ4 
Dorset,  Countess     58 
Dorset,   Ld.     28  67 
Douglas,  J.     191   192 
Dowden,  E.     17  21  144  220  239  247 
Drake,  N.     173  191  201  216  220  258 
Drama     247 

Drayton.  M.     195  196  216 
Druid     170 
Drummond     216 
Dryden,  J. — 

Couplets     60  86  160-165 

Crit.  of  Milton     141    143   146-147   150 
151  153  160-163 

Criticized     54  127  164-16=  172  173  194- 
195-20; 

Epigram  57  120 

Mentioned     16   17   18  29  37  38  40  42 
56  62  85  91    100  120  127  144  146-147 
157  164  165  T98  200  217  232  261 
Du  Bartas     263 


Du  Moulins    45 

Dunbar,  J.     214 

Duncombe,  J.     82 

Duncombe,  W.     168  169  201 

Dunster,  C.     33  218  263 

Diirslev,  Lady     58 

Dwight,  T.     104 

Dyer,  J.     82 

Dyer,  G.     278 

Eden,  Garden  of  58  61  6^  64  66  67  69 
71  74  75  77  -8  80  81  82  84  87  88  91 
93  94  95  06  97  100  103  105  109  125 
144  145  183  184  193  213  220  237  245 
266  268-273 

Editions  of  Milton — 

See  "Contents"  and  "P.  L." 

Authorities     279 

Critical    33  176-179  182  217 

First  27  ff. 

Prose  Works     43  48  116  124  127   172- 

17s 
Summaries     34  49 
Editor  Theory     176-179  200 
Education    47-48  86  188  211-212  246-247 

265-268 
Edwards,  T.     182 

Eikouoklastes    43  45  46  174  I75  224 
Elegy     20  231 
EUwood,  T.    119  144 
Elphinston,  J.     96  266 
Elton,  O.     17  18  15s 
Emil,  C.     171 
Evans,  A.    62 
Evans,  J.     137  217 
Eusden,  L.    64 
Eve    78  86  88  95  101  no  152  153  183  i94 

I 98  220  244 
"Evil  tongues  and  days"     13  72  74  79  81 

gi  92   100   102   103   107   109   112   114 

118  120  121  122  123  130  131  146  177 

178  242  246  247  252  255-256  258  262 

272  276  278 
Evremond,  St.     141 
Expansiveness  in  poetry    239 
Eyford  Gardens     270 

Faithborne     28 

Fall  of  Man    57  77  81  90  94  105  109  no 

126  135  181  193  24s 
Familv  of   Milton     28   123   129   i6g   190 

276-278 
Fancy    70  73  78  82  84  87  92  97  100  loi 

141   161   164  193  212 
Fawkes,  Fr.    262 
Felton     160 
Fenton,  E.    25  37  ,38  120-121  129  142  168 

177  194  270  275 
Filmer,  Sir  R.     185 


296 


THE    MILTON    TR.VDITIOX 


[388 


Filon.  P.  M.  A.     1/ 

Firtli,  C.  H.    45  251 

Flaxman,  J.    31 

Flesher,  M.     28 

Fletcher,  J.  v.     "Beaumont" 

Foot,  C.    85 

Foreman,  S.     236 

Form,  poetical,  v.    "Blank-Verse" 

Formey,  M.    236 

Foster,  J.    29 

Foster,  Mrs.  E.  29  76  129  169  190  255- 
256  276-278 

Foulis,  R.  &  A.    25  26  30  32  39  40  182 

French  Criticism,  v.  "Augustan  stand- 
ards" 

Frere,  J.  H.     15 

"F.  T."     180 

Fusili.  J.  H.     30 

Gallery,  Milton     30  31  95  96  152  157  256 

Gardening     100  219  237  268-273 

Garnett.  R.     17  43 

Garriclc,  D.     76  80  171  277  278 

Gauden     117  142 

Gay,  J.     157  196 

Gent,  T.     107 

"Gent,  of  Quality"     163 

George  III     30  274 

Gessner,  S.     30 

Gildas     251 

Gildon,   C.     25   40   11 5-1 16   127    141    150 

160  162  163  164  165  251  253  261 
Gillies,  J.     26  27  218 
Gilpin,  J.    98 
Gishorne,  T.     105 
Glasse,  G.  H.    35  43  210 
Glossary     30 
Glover,  R.     200  210 
Godwin,  VV.     16  21   113  144  225  229 
Golden  Age    229  241-243 
Goldsmith,  O.     29  39  -8  172  192  195-196 

198  206  210  232 
Goodall,  t;.     55 

Goodness  of  liuman  nature    226 
Goodwin,  J.     118  123 
Gosse,  E.    20 
Gothic    97  210  237 
Gottschcd     157 
Granville.  G.     56  165  194 
Grave  of  Milton    60  74  ■;■/   loi   187  n.Si 

275-276 
Graves,  R.    72  95  96 
Gray,  T.    20  22  77  78  80  84  87  92  98  105 

171   173  183  204  205  214  217  218  225 

2,36  2.39  253  261  262  269  272  27s 
(irecian  Art    241 
Green,  G.  S.    25  26  181 
Green,  T.     31   210  218 
Gregory,  Griffin    215 


Grotius,  Hugo     iSs  186  188  lOi  n.89  261 
"G.   S."     187 
Gummere,  F.  B.    223 
Guthrie,  W.     2S7  275 
"G.  W."    69 

Hagley  Park     211  272 

Hamburg,  Sir  C.    70 

Hamilton,  N.     34-35 

Hamilton,  W.     57 

Hammond,  J.     70  100 

Handel     34  39-40  85  129  169-170 

Hardinge,  G.     94 

Hare.  H,     145  269 

Harris,  J.     201  269 

Harris,  W.     132-133  224 

Harte,  W.    66  91 

Hartlev,  T.     221 

Hartlib,  S.     47 

Harvard  College     175 

Havens,  R.  D.     17  28  147 

Hawkey.  J.     25  179 

Hawkins,  Sir  J.    210  275 

Hayes,  D.    90 

Hayes,  S.     218 

Hayley,  W.  14  27  41  96  97  137  213  219 
225  234  263 

Hazlitt.  W.    236 

Hearne.  T.    251  259 

Heber,  R.     85 

Hebrew  Theocracy     241  246  247 

Hedge,  F.  H.     222 

Heelev,  J.     211 

Hcldc'r,  T.     22 

Hell    69  105  148  154  221  226 

Heron,  R.   (Pinkerton)     217 

Hervey,  J.    83  204  265 

Hill,  A.     12  74  143  165-166  iq6  203  276 

Hill,  Sir  J.     171 

Hitchman,  F.  233 

Hobbcs,  T.  63  69  113  185  n.77 

Hog,  W.  37  43  186  191  192 

HoUis,  T.  21  117  132  174  192  224 

Homer  18  30  51  55  57  61  66  67  68  72 
73  74  82  83  86  91  92  93  94  95  96  97 
98  104  105  106  109  121  129  130  147 
149  150  152  154  158  159  160  161  187 
188  it)o  193  194  197  198  190  200  203 
205  209  215  235  246  255  258  261  27S 

Iloole,  J.  262 

Hoolc,  S.  254 

Hopkins.  J.  163 

Horace  19  f>S  75  M^  147  '55  '64  192 
203  269 

Horton  40  210  211 

Howard,  F.  98 

Hughes.  J.     15  64   "57  '69  10,3  106  .107 

Hume,  O.     1.30-131  133  251 

Hume,  P.    29  148  176  181 


389] 


GENERAL    INDEX 


297 


Hurd,  Bp.  R.    74  172  175  igj  25S 

Hurdis,  J.     102  212 

Hyde,  Edw.     155  n.15  206  n.43  142  178 

Idealism    241-248 

Imagination  21  124  13;  154  156  157  158 
161  173  176  199  202  203  219  220  221 
22i  226  23-  238  239  243-244  247-248 
271  272 

Imitation  78  80  95  96  121  158  159  163 
166  167-173  172  182  187  193  209  219 
230  232  234  236  239  254  261-263  273 

Index,  V.     "P.  L." 

Inscription,  M.'s  in  VV-Abbey     274 

Ireland     37 

Irving,  E.     184 

Irwin,  E.    226 

Italian  Poems    40-41  52  95  126  210 

Jackson,  W.     38 

Jacob,  G.    31  H9-120  144 

James  I.     132  214 

James  II.     132  145 

'•J.  C."     185 

Jebb,  R.  C.     179 

Jennens,  C.     39-40 

Jephson,  R.    95 

"J.  M."     igo 

Johnson,  J.    27  34  44 

Johnson,  Dr.  S. — 

See  "Contents"  and  separate  titles 
Cited     16  28  29  55  98  120  134-136  127 
128  130  137  138  139   142  174  179  183 
194  196  221  233  236  257  275 
Counts   and   Lvcidas     76   139   212   215 

219  277 
Editor     26  80  197  217 
Family  of  Milton     76  277 
Lauder  Affair     185  188  190  191 
Paradise  Lost     133-135  193 
Samson     171-172  209  210  212 
Toryism     134-135  196  212-213  222  224 
Verse  Form    201 

Jones,  Sir  W.    210  211 

Jonson,  B.     13  79  145  195 

Jortin,  J.     179  213 

Jtisserand,  J.  J.     156 

Kames,   Ld.    (Henry    Home)      198    200 

201-202  206  207  258  269 
Keate,  G.    87 
Keats,  J.     107 
Keddington,  R.     198  258 
Kellet,  A.     233 
Kennet.  Bn.  W.     119  251 
Kenrick,  W.    205 
Kent     273 
Ker,  V.'.  P.     247 
Kiddell,  H.    81 


King,  W.     62  63 

Kirkpatrick,  J.     190 

Knight,   S.     99 

Knox,  V.     36  38-40  233  240  258  267  269 

Landor,  W.  S.     no  213  261 

Langbaine,  G.     115-116  141 

Langhorne,  J.    41  84  85  95 

Latin  Poems     41-43  126  210  274 

Lauder,  W.     129  142  184-192  261  277 

Law,  J.     85 

Law.  W.     184  221 

Lawes,  H.    35  37 

Lawrence,  J.     270 

Lawrence,  Sir  T.     29 

Lazar  House    31  180  227 

Leasowes     211  n.13 

Lee,  N.    56  194-195 

LeFevre,  T.     47 

Leland,  T.     199 

Le  Neve,  P.    41  214  216  275 

Leslie,  C.     148 

Leti,  G.    225 

Liberalism,  in — 

Religion     117  220-221  222 

Politics     106  113   117   124   173-175  214 
224  241-243 

Thought     180  223  242-243 

Verse  Form     74  163   164  207  230  ff. 
Liberty    and    righteousness     45    76   226- 

227  228  240  244-248  251 
Lilburne,  J.     226 
Lille,  Abbe  de    60  272 
Littelton,  E.     65 
Lloyd,  D.     IIS 

Lloyd.  R.    77  80  81  86  191  n.89 
"L.  M."     190 

Locke,  J.    47  82  95  96  98  137  1-5  223  255 
Loft,  Capel     27  218  276 
Loliee,  F.    246 
Long  Parliament    45  251 
Longinus     150  155   180  197 
Louis  IV.     146 
Lovibond,  E.    91 
Lowell,  J.  R.     17 
Ludlow  Castle    37 

Lycidns    37-38  43  81  116  117  121  125  126 
127  136  139  141   142  154  168  170  210 
212  215  217 
Lyttelton,  G.  Ld.     196 

Macaulay,  Mrs.  C.     133  224  255-256 

Macpherson,  J.  232 

Madan    212  cf.  262 

Mallet,  D.     178 

Mandeville,  B.  157 

Mann,  H.     219 

Manners,  Lady  105 

Maustis    41   126  238 


298 


THE    JIILTOX    TRADITION 


[390 


Mant,  R.     io6 

Manwood,  T.    212 

Marchant,  J.    25  182 

Marriott,  T.    83 

Marvell,  A.  13  54  60  113  122  143  144 

162  174 
Masenius,  J.  186  188  191  n.89  261 
Mason,  J.  201 
Mason,  W.  20  71  81  83  92  96  105  172 

210  218  219  233  236  239  2S3  271  272 

274 
Massey,  \V.  197 
Masson.  D.  16  17  28  29  44  112  114  138 

144 

"Matter  of  Britain"    238 

Meadowcourt,  R.     183 

Medievalism    222  237 

Melancholy     i8-ig  29  216 

Melcomb,  Ld,     170 

Melmouth,  W.    68 

Mendes,  M.     12  78 

Methodism    218  221  243 

Mickle.  W.  J.     79  91  223  236  252  262 

Mill,  J.  S.    240 

Millar.  A.    29  35  36  44 

Millennialism     221  243 

Milton,  Sir  C.     259 

Milton,  J.— 

See  "Contents"  and  several  titles. 
Above  criticism    58  61-62  66  78  98  146 

147  151    159-160  25-  . 

Bed     117 

Champion  Englisli  liberty     100  106  117 
124  125  128  1.30  132  1.^3  134  139  175 
214  218  219  224  225-230  241 
Compared,    v.     "Cowley."    "Dryden," 
"Homer,"    "Pope,"    "Virgil."    "Wal- 
ler" 
Early  life     52  103  211-212  213  237  274 
Early  reputation     11-18  24-50  51-67  74 

91  92  112-127  140-166  256 
Genius     70  72  81  86  92  96  99  103  118 
121   123  124  128  130  131   1.36  13T  146 
147  151   154  158  161   168  169  178  187 
'9,3  '95  '99  205  207  214  215  216  217 
220  224  23s  255  256  261 
Ghost     59  loi 
Grave     q.v. 
In    Heaven     60  61   73   77  84  87  88-89 

Q7  105  109 
Influence  18-22  22-23  209-249;  on  pa- 
triotism 73  75  76  81  85  90  98  100 
loi  106  108  109  129  174:  on  the 
Coiilincnl  21  J2  126  127  128  148  156 
l66  l8[  229  273;  on  liberty,  q.v. ;  on 
verse- form  76  106  173  201  202  2,39; 
on  poetry  ill  230  237  210  247-248; 
in  America,  q.v. 


Inspiration  52  53  54  55  60  61  68  70 
72  78  97  107  138  146  149  ISO  221  239 
240  242  246-247  254  261 

Latin  verses    41  126  212  213 

Literary  Gospel     240  248 

Manner  of  life  72  75  81  103  112-113 
119  124 

Poetic  Art     220  240  242  246-247  252- 

255 
Politician,  the     14  56  58  62  69  73  109 
112-113  114  115-116  117  118  120  123- 

124  125-126  128  130  132  134  136  138 
142-143  145  167  i74-'75  178  n.43  181 
213  214  222-230  242 

Prose  li'orks  43-48  49  58  59  116  117 
124-127  130  136  142-143  166  167  173- 
175  209  213  218  219  224-225  229  240 

243  257 
Rank  established     71   74  76  82  90  103 

105  no  III   123-124  126  129  144-166 

192  199 
Religion     19   103-104   106   1 10   1 14   124 

125  128  129  130  135  136  138  159  184 
213  220-223  227  239  241-243  256  259- 
260  263-265 

Scholarship  52  53  79  83  84  87  99  103- 
104  107  124  128  143  162  216 

Style  60  80  118  122  123  127  144  150 
153  IS9  160  163  169  180  195  213  225 
276 

Subject     126  147  221  243 

Sublimitv  54  58  61  63  65  66  67  69  70 
74  76  79  80  8t  86  87  94  08  102  105 
107  123  124  120  130  138  139  142  144 
145  147  149  158  180  184  190  193  194 
197  199  211  219  246  253  254  255  276 

Use  of  rhyme    19  87  127  141 

View  of  happiness  216  223  227-228 
240-241  245-24- 

Vicw   of   moral   order     14  52  75   227 
240-248 
"Miltonicus"      186 
"Milliin-nuid"     21  86 
Minor  Poems   (Milton')      19-23  20  32-34 
40-41   43  40  88  114  116   117   121    124 

126  129  1.^6  i.w  141-142  166  167-173 
209-217  219  239 

Mir;i1ic;ui     21  46  47  225 

Missionary  activities     243 

Alitford.  W.     231 

Montagu.  Lady  Mary    65  219 

Montgomery.  TI.  R.     151 

.Mi);-ii-(!il.  .M.'s     74  87  103  164  196  274- 

Moor.  1.     108 
More.  Sir  T.     242 
Morley,  J.     156  222 
Morris,  J.  W.    260 
Moses     158 


3911 


GENERAL   INDEX 


299 


Moseley,  H.     126  141 

Mottley,  J.     127 

Mozzi,  Sig.    41 

Munro,  T.     15 

Murphy,  A.     191 

Mysticism     220-222  238  245-246  247  253 

Nativity  Ode     127  169-170  217 

Neal,  D.  122-123 

Neville,  T.    92  cf.  175 

Newman,  J.  H.    240 

Newcomb,  T.     204 

Newton,  Sir  I.    82  85  92  94  99  104  132 

25s 
Newton,  T.    25  27  29  30  32-33  120  128- 

129  139  172  182  183  197  251  277 
Nichols,  Jo.    44 
"Nightmare,  J."     275 

Obedience    246  n.96 
Octosyllabics     19 
Odes    42 

Ogilvie,  J.    79  84  88  239 
Ohio     85 

Oldham.  Sir  J.    55 
"Old  Man"     200 
Omond,  T.  S.    220 
Orientalism     71  237  269 
Orthodoxy    220  259  260 
Osborne.  T.     26-27 
Otway,  T.     144  157  194  195 
Ovid     154  164  212  261  263 

Paget,  Dr.  N.     114  144 
Paine,  T.     225  226 
Panting.  S.    84 
Paradise  Lost — 

An  authority     158  183  220  230  232  235 

243 
Biographical  notices     114  116  117   118 
119  121   122  123   121   126  127  128-129 

130-131.  134-135  137  138  139 
Commercial   interest     28-29  49-50    148 

1-7  183  192  241  255-256 
Copy  to  Geo.  Ill    30 
Criticisms,  v.     "Contents." 
Divine   Poem     53  61   78  83  92   103    121 

159-160  183   186  213  221-222  236  240 

247-248  257 
Editions     25-30    148   155    176   179    182 

2^0 ;    Variorum      16  30   128   137    182 

216 
Exalted  in  tributes  51-111 
Explained    148  167  ff.  175-181  217  n.36 
In  Lat.-Gk.    41-43  274 
In  Prose     25 

In  the  pulpit    75  i8t  220  226 
In  social  circles     S7-58  79  84  90  95  152 

Ii4  183  218-219  257-258 
Indexes    30  155   181  182 


Publication    difficulties      14   27-28    121 

127  143-144  241  255 
Quoted    75  81  90  92  103  107  no  135 
136  185  189  220  226  227-228  238  (cf. 
246)  252  253  254  2C5  268  272 
Related    to    Moral    reform      148    ff. ; 
Politics      138-139    143     148    174-175 
222-229 ;  Prose  Works  2og  243 ;  Ro- 
mance    222  237 
Treatment  of  Deity     134-135    150   156 
198;  Love     152  153  156  183;   Social 
evils     180  227  240-248 
Under  French   standards,  q.v. 

Paradise  Regained  19  31-34  42  47  50 
96  114  116  119  121  138  142  144  156 
182-183  187  217  n.36  238  243  270 

Parker,  P.    25  27 

Parker,  Bp.  S.     122 

Parkin,   M.     98 

Parnell,  T.    64  158  194 

Parsons,  E.  S.     113-114 

Pater,  W.     253 

Paterson,  Dr.  J.     181 

Pattison,  M.     17 

Pattison,  W.     57  66 

Paul,  H.  G.     149 

Pearce.  Z.  167  178  261 

Peck,  F.  45  127  139  168  169  172  180  261 

Peele  185 

"P.  E.  M."  14 

Pemberton,  H.     179  201 

Penn,  J.     105  210 

Percy,  Bp.  T.     115  206 

Perry,  T.  S.     13  28  222  258 

Personification     173 

Phelps,  W.  L.     17  18  19  22  200  20s 

Philips,  J.     19  25  62  67  90  121  202  214 

Phillips,  E.  44  113  115  116  118  127  143 
144  164  182-247  248 

Phillips,  J.     115 

"Philo-Milton    Petriburgensis"     186 

"Philo-Miltonus"     189 

Pickering    29 

Pindar,  P.   (Wolcott)      103 

Pitt.  Chr.     194 

Pitt,  R.     42 

Plato     154  216  242  253 

Plumptre,  J.    38  43 

Plutarch     242 

Poetical  platform     70  l^io  161   247-248 

Poetical  tributes     51-111  253  269  277 

Poetry  and  religion     148  150 

Polwhele,  R.    235 

Pomfret.  J.     157 

Poole,  J.     141 

Pope,  A. — 
Compared  with   Milton     59  70  78  82 
91    170  172  173   194-195   196  201   202 
203  204-205  206  219  232  234 


300 


THE    JIILTOX   TRADITION 


[392 


-Mentioned    20  42  63  6?  6g  71  75  78  gs 

127  141   144  149  158  159  107  19S  200 

231  233  262  272  273 
II  orks     15  66  78  142  274 
Portraits  of  Milton    28  123  175  276 
Poscher.   R.     13 
Potter,  R.    76 
Power,     41 
Powis,     183 

Prayer  in  Eden     213  220  235 
Prince  of  Wales    48 
Prior,  M.    58  59  14=;  158  16:  104  19s  196 

251  274 
Prowett,  S.     29 
Puritanism     14   132   ij-   14S  173-174  239 

242-246  259 
Pym     106 

Quakers     119  221  245  259 
Quarles,  F.     12 
Queen  -'\nne     20  174 
Quotations  of  P.  L.     150  151  153  157  158 
253 

"R.  A."     186 

Radicalism     174  220  225-230  242-243 

Raekman,  J.     27 

Ramsay,  A.     141  187 

Raphael    85  91  97  193  254 

R— (1  B— y    86 

Reed,  E.  B.    22 

Reed.  J.     81 

Renaissance    241 

Republicanism     128  136  224  245  259 

Restoration   Period     14-15  S3  65  I12-113 

123  124  130  131    142  145  146  148  160 

182  204  209  246  262 
Revolution — 1688    16  28  132  143  145  148 

222-224   246-247 ;    French   46  47   229 

242 
Reynolds,  Myra     268 
Rhyme    67  68  71  76  80  81  84  86  q-\  iio 

i6o-i6(5   179  196  203-220  230-240  248 
Richardson,    J.      15    27    30    123-724    125 

i.TO  168  179  181  259 
Richardson.  R.     182  187  189  190  211 
Richardson,  S.    31  193 
Righteousness     45  52  83  244-248 
Ritson,  J.    27  38  ,19  263 
Roberts,  W.    93  231  237 
Robertson,  J.  G.    21   157 
Robinson,  H.  C.    31  30  n.io 
Robson,  J.     184 
Rogers,  S.     29  n.io 
Rolli,  P.    35  156  257  261 
Roman  organization    241-242 
Romance     222  2.37 
Romantic    Movement      18-23    30   49    134 

149  167  173  175  176  192  194  197  200 


204  207  209  218  220  230  235  237  239 

241  24^ 
Roscoe,  \\  .     100  245 
Roscommon,  v.  "W.  Dillon" 
Rousseau,   I.  J.     30  225  229  245  266 
Rufthead,  O.     232 
Rynier,  T.     146   162  , 

Sackville,  C.     Ld.  Middlesex     59 

Saintshurv,  G.     17-21   232 

St.  Giles  Churchvard     275 

St.  Maur.  R.     181 

Salaville,  J.  B.    47 

Salniasius     53  118  122  142  185 

Sdiiisoii  Agonistcs  29  33  34  35  42  43  114 
115  116  128  137  1.^8  1,19  141  >42  144 
ij8  157  i6g  171-172  182  183  1S5  209- 
210  212  252 

Sandys,  G.     185  194 

Say,  S.     42  60  201 

Savers,  F.     210 

Sciielling,  F.  E.     185 

Schippcr,  J.     2t 

Scott,  J.    "71  97  197  215 

Scott,  Sir  W.    217 

Searle,  G.     142 

Seccombe,  T.     21  42  127 

Sedley,  Sir  C.     158 

Scighton,  F.     92 

Settle,  E.     145  163 

Seward,  .Anna    31  216  218  233 

Shakespeare  13  17  3t  66  69  70  73  74  76 
77  79  80  83  85  87  90  91  92  96  98  104 
105  106  no  !2i  127  145  156  158  163 
184  189  194  195  196  198  202  203  210 
219  221  241  258  278 

Sliefiield,  J.  v.  "Buckingham" 

Shelley,  P.  R.     109 

Shenstone,  W.     20  69  87  170  179 

Sheridan,  T.     195  232  234  265 

Shields,  R.     76  130 

Sidney,  \.     174  175 

Simmons,  S.     25  2"  28 

Smart,  Chr.    39  43  57  78  172-17,3 

Smith,  Chas.     270;   Edm.  62;   Wm.   180 

Social  evils,  v.  "P.  L."  226-230 

Society   for  authors     278 

Somcrville.   W.     63  67 

Sommers,   Ld.     15   74   79    '3° 

Sources  of  Milton     156  192  261-263  273 

Southey.  R.     107  108 

Sparks,  J.     46 

Spouce,  J.     254 

S|)cnccr,   Lady     210-211 

Spenser,  Edm".  13  15  17  10  2"  .'^ii  <»  61 
66  67  70  72  7.1  74  "•'  70  80  87  91  no 
126  146  147  1.58  182  190  193  194  '95 
198  206  216  2.i6  261 

Spingarn,  J.  E.    55  247 


3931 


GENERAL   INDEX 


301 


"State  of  Nature"    226  227  229 
Steele.  R.     30  31   151-IS2  157  195  219 
Steplien,  L.     146  221  234 
Stephen,  E.     270 
Sterling.  J.     41 
Stephen  and   Malone     127 
Stevenson,   W.     87 
Stillingfleet,  B.     182 
Stockdale,  P.     19s  258  267 
Stourhead     103  272 
Stratford     42 
Strawberry  Hill    219 
Summaries     34  49 

Supernatural,  the     65  71    74  88  loi   135 
150  is6  196  198  221  236  237  238  243 

245 
Surrey,   Earl     206 
Swift,  Deane     195 ;  Jonathan  20  75   149 

159 
Sylvester,  J.     263 
Symmons,    C.      44 
Synionds,  E.  M.    39 

Tasso    51  55  73  130  146  147  262  263  273 

Tate,  N.     57  61 

Taylor,  J.     221 

Temple,  Sir  R.     67  74  270 

Temple,  Sir  W.     146  271 

Texte.  J.     229 

Temptation,   The     57   244 

"T.   H.   W."     212 

Theobald.  L.     163  173 

"Theodocia"     83 

Thompson.  S.     27 

Thompson,  W.    71  90  212 

Thomson,  A.     103  105 

Thomson,  J.     14  19  20  21   67  68  74  78 

100  105  174  196  198  202  230  249  257 

269  272 
Thver.  R.     14  53  182 
Tick-ell,  T.    62  65  155  181 
Todd,  H.  J,     16  27  30  36  53  55  56  MS 

216-217  218  263  276 
Toland,   J.     44  47    116-118    125    141    143 

160   175    192  224  259 
Tonson,  J.     13  25-27  28  29  30  32-34  39 

130  148  155  172  182  257  277 
Toryism     112   115   i^'    135   136    139   145 

174  196  213  214 
Towers,  J.     131 
"T.  P."     185 
Translations  of  Milton     37  41   43  51  95 

126  186  191-192  210  274 
Trapp,  J.     42  186 
Trent,  W.  P.     14  252 
Tristam,  T.    68 
Twining,  T,     211  215 
Tvrwhitt,  T.    234 
Tytler,  H.  W.     263 


Upton,  J.     182 
Urbanus  Sylvan     260 

Vallonibrosia     219 

Verity,  A.  W.     12  247 

I'crsc.  The  27  54  55  56  61  62  65  66  67 
71  73  78  80  90  93  10^  106  144  161-162 
163  164  165  166  201  202  204  205  206 
207  230  231  232  233  235  236  239  247 

Versification  146  160-166  170  193  195 
200-202  230-240 

Vida,  M.  H.    262 

Virgil  30  SI  57  61  65  66  67  79  83  94  96 
97  109  121  147  149  150  152  154  158 
159  160  161  164  188  193  198  200  203 
212  219  269  273  275 

Voltaire  67  127  ic=;-i57  180  194  196  261 

"VV.  &  D."     260 

Wakelield,  G.    232 

Walker,  J.     234 

Waller,  Edm.     17  56  57  59  60  70  75  no 

126  141   142  14;  165  195  200  261 
Walpole,    H.      12    213    219    253    271    272 

277-278 
Walpole,  Sir  R.    66 
War    228,  v.  "Battle" 
Warburton.  Bp.     125  127  160  167  178  183 

igo  191 
Warton.  J.     15  20  22  i:^  73  98  106   140- 

141   166  169-170  172  173  193  194-195 

202  204  218  230  234  239  269  274 
Warton,  T.     16  20  22  36  39  40  41  72  75 

84  98   155   167   173   194  212  21S-217 

218  225  236  239  277  278 
Washington,  G.     46 
Washington,  J.    46  61  224 
Watkinson,  E.     147  199  258 
Watts,  I.     61    138  164  254 
"W.  B."     187 
Wealth     228 

Webb,  D.     198  200  202  206-207  230 
Welsh,  A.  H.     223 
Welsted,  L.     150 
Wesley.  J.     27  159  217/^.36  221 
Wesley.  S.    60  159 
Westnninster   Abbev     74  85   87    164    ig6 

274-275 
Whalley,    P.     189 
Whateley.  T.     270 
Wheeldon.  J.    96 
Whig  Party    28  [24  132  145  174-175  222- 

230  27,s 
Whincop,  M.     127 
Whitehead,  W.     84 
Wilcocke,  S.  H.     105 
Wilkie,   W.     91    198 
William  III.     61    145  270  271 
Winstanley,  W.    114  115  146 


302 


THE    MILTON    TRADITION 


[394 


'•W.  K."     189 
WodhiiU.  M.    S3 
Wollaston,  W.     162 
Wood.  A.  A.    113  115  120 
Wood.  R.     255 
Woodberry,   G.   E.     262 
\\'oodford,  S.     145  162 
Wordsworth,  W.     106  234  248 
Wotton,  Sir  H.     129  141 
Wright.   T.     184 
'■W.  S."     60 
Wynne,  R.    48  265 

Yalden,  T.     59  116 

Young.  Edw.     19  20  21  67  70  72  73  84 

87  105   170  194  202  204-206  230  239 

262 
Yourdt,  J.     231 

INDEX  OF  TITLES 
Absalom  &  Achitophel    56 
Absalom  Senior     145 
Abstract  of  Melancholy     173 
Acct.  Gr.  Eng.  Poets    58  116  152 
Active  &  Retired  Life    68 
Adam.  A  Sac.  Dra.     137 
Adam's  Luxury     183 
Adamus  Exsul     186  ff. 
Addison     13 
Addisoniana     257  276 
Adonais     109 
Adriano     102 

Advantages  Mod.  Gardening    271 
Adventurer,  The     ig^  269 
Adventurous  Muse    61 
Advice  to  Poets     12  i^^  203  276 
Age  of  Johnson     21 
Amyntor     116-117   175 
Anatomy,  The    20  173 
Andrew   Marvell's   I'oclischc   ]l'crK-c     13 
Anecdotes   (Seward)     .30 
An  Epistle  (W.  S.)     62 
Annotations  on   P.   L.    (Hume)     29  148 

176  181 
Anonymous   Poetry     56  (56  67  68  (39  71 

74  78  87  92  95  98  100  loi  102 
Answer  to  Anstey  (Garrick)     171 
Apology  for  Heroic  Poetry     147 
Apothcosis  of  Milton     257  275 
Apparition,  The    62 
Arcopagitica    43  46  1,39  225 
Argonautics     262 

Art  Eng.  Poetrv     157  234  251  253  269 
Art  of  Health    .30  n.io 
Art  of  Love    62 
Art  of  Poetry,  New  Plan     198 
Art  of  Preaching    7$ 
Art  of  Reading     2.^2  2.34 
Art  of  Sinking     159 


.\rts  &  Sciences    229 
Athenae  et  Fasti     113  115 
Athenian  Mercury     57  120  142  162 
Augustan  Ages     17  157 
Aurcng-Zebe     141 
Authors    90 

Baptistes     127 

Bard    80 

Battle  of  Genii    262 

Beauties  Eng.   Poetry     39  210 

Beauties  of  Poets     39 

Beauties  of  Poetry     198  206-207 

Beauties  of  Hagley,  Etc.     211 

Bee.  The     215  216" 

Bee  &  Milton  Convicted     191 

Beginnings  of  Eng.  Rom.  Movement  17 

18  205 
Beginnings  of   P.  L.  m  Latin     186   191 

200 
Behemoth     113 

Bentlcy's  Emendations     176-179  185 
Bentley     179 

Biographia  Dramatica     217  n.36 
Biographia  Literaria     218  237 
Bibiiograohv     17  43  279 
Bibliotheca     63 
Bion    55 

Blemishes  in   P.  L.     135  19.3  269 
Bonaparte  in  Egypt     226 
Book  of  Nature    271 
Botanic  Garden     233 
Britannia     105 
Brit.  Enchanter     l6s 
Brit.  Librarian     251 
Brit.  Mars     184 
Brit.   Mus.  Cat.      17  27  113   120  125  n.24 

180  182  256 
Brit.  Parnassus     157 
Brit.   Philippic     81 
Brit.  Poets  (And.)     43  136 
Burlesque  Rvw.  of  Allegro    217 

Calvary     220 

Canib.  Hist.  Eng.  Lit.     17  n.36  176 
Candour    69  79  276 
Caractacus     210 
Castle  of  Indolence    74 
Champion     184 
Character  Chas.  II.     14 
Characters,   Etc.     216 
Charge  to  Poets    84 
Christiad    262 
Chronicle  (Heath)      1 12 
Citizen  of  World     106  206 
College  Life    66 
Columbia    98 

Ccnnmendalorv  Verses     53  60  144 
Complcat  Art  of  Poetry     142  150  157  164 
251   257  261  269 


395] 


GENERAL   INDEX 


303 


Compleat  Hist.  Eiig.    iig  251 

Compleat  Hist.  Europe     118 

Complete  Commentary     181 

Commonplace  Book     172  175 

Commonwealth    44  45  226 

Conjectures     204-205  2,^0  239  262 

Conjectures  on  Origin  of  P.  L.     127  263 

Contemplations     204 

Contest,  The     203 

Cooper's  Hill     238 

Country  Clergyman     214 

Court  of  Dullness    65 

Craftsman      169 

Crit.  Abilities  of  Addison    258 

Grit.  Essays  (Scott)     215 

Crit.  Essays  17th  Cent.  247 

Crit.  E.xam.  Samson     72 

Crit.  Works   (Penn)     105  210 

Critical  Review  42  46  48  98  lOO  118 
131  132  197  199  204  205  207  214  215 
230  232  233  234  236  241  253  255-256 
261  262  271  272  274  278 

Critique,  v.  "Addison" 

Critique  on  P.  R.     183 

Cursory  Remarks    41  2id  216 

Cvder     25 

Cyprian  Academy     141 

Daily  Gazette    260 

David  &  Bethsabe     185 

Day  of  Judgment     79 

Death     171 

Death  of  Addison     65 

Ded.  of  Aeneis     174 

Ded.  to  the  Traveller    206  247 

Denfence  of  Vindication     117  n.io 

Deity    239 

De  Jure  Belli     185 

De  la   Predication     220 

Democracy  &   Poetry     223 

De  Re  Poetica    116  147 

Deserted  Village    230  232 

Desiderium  Lutetiae    212 

Design  of  Eccl.     163 

Dev.  Eng.  Lang.  &  Lit.    223 

De  Veritate    261 

Dialogues  of  Dead     196 

Dialogue.  Dr.  J.  &  Dr.  G.     98 

Diary  (Green)  30  5i  210  215  218 

Diary  (Moore)  260 

Diary  (Robinson)     31  260 

Dictionary  (J)     79  130  187  201 

Diet,  of   .Authors     148 

Diet.  Lit.  Curiosities    278 

Diet.    \atl.    Biog.      17   n.36    114    127    180 

233  234 
Diet.  Historique     125  n.24  132 
Diet,  of  Rhymes     214 
Dignity  of  Kingship     142 


Directions  to  a  Painter    40 
Discontent  in  State    59 
Discourses    (Polwliele)     235 
Discourse  on — 

Anc.  &  Mod.  Learning     152 

Government     174  175 

Imitation     193 
Disinterment  of   Milton's  Coffin     275 
Dissertation  on — 

Benevolence     278 

Eloquence     199 

Iliad    298 

Italian   Poetry     156  261 

Poems  of  Ossian     170 

Poetical  Imitation     211 

Reading  Classics     160 
Divine  Legation     127  160 
Divorce     43-45   175 
Dramatic  Poets     115  116 
Dra.  Sketches  N.  Myth.    210 
Dunciad     232  n.67 

Early  Rep.  P.  L.     17 

Eclogue     203 

Eden,  on  Gardening    270 

Education    86  (Titles  265-268) 

Edward     254 

"1811"     107 

Eighteenth  Cent.  Studies    233 

Elbow  Chair    72 

Election  in   Parnassus     275 

Elegancies  out  of  P.  L.    25  155 

Elegant  Extracts    36  38-40 

Elegies   &  Sonnets  99 

Elegv — Cray's     22  77  84 

In'W-Abbey    85 

To  Mason     105 

In  the  Garden     83 

On   Pile  in  Ruins     171 
Ele.   Prin.   Belles  Lettres     236 
Elements   (Kames)     198  201  202  206  258 

269 
Ele.   Elocution     234 
Elfrida     172  210 
Encomium  on  Warton     106 
Ency.  Brit.     17 

England's  Debt  to  Milton     247 
English — Anthology     27  38  39 

Essays   (Jusserand)     156 

Garden     233  271 

Garner     119 

Hist.  Review     113 

Lyrical   Poetry     22  169 

Metricists     230 

Parnassus     141 

Theophrastus     144 
Enquiry  into — 

Happiness     94 

Learning  of  Shakespeare    189 


304 


THE    MILTON    TRADITION 


[396 


Nat.  &  Laws  of  Poetry     195 
Envy    96 

Epigoniad  Reviewed     192 
Epigram  on  ^lilton     57  120  141 
Epigram  on  J's.  Diet.    80 
Epigrams     206 
Epitaphium  Damonis     126 
Epistle   to — 

Anstey    93  231 

Augustus     69 

Cobham     67 

Colman     81 

Daniel  Wr — y     71 

Mr.   Duke     144 

Ur.  W—   (W.  S.)     60 

Fellow  Traveller    270 

Fenton     270 

Gentleman   of   Italy     9^ 

Mathew.  G.  P.     107 

Priestley     103 

Dr.  Sliebbeare    96 

Thomson    67 

Tucker     12 

On  Poetry     60 
Epistles    (Kenrick)     205 
Epistola  ad  Polio     43-45 
Essay  on — 

.Mlegorical   Poetry     193 

Blindness    255 

Chinese  Gardens    271 

Criticism     199 

Dramatic  Poesie     162 

Dryden     141 

Kducation     47-48 

Elegy     I/O 

Emendations     i~7 

Englisli  Poetry     18 

Epic  Poetry  (Hayleyl     97219 

Epic  Poetry  (Voltaire)     155-157  261 

Epigoniad     198 

Genius  of  Homer    255 

Genius  of  Jolinson     IQI 

History  (  1 1  ay  ley)  96 

History  of  MankTnd     214 

Imitation  of  Ancients     183-185 

Imitation    of    Moderns      136    i8,S    186 
189   190  191   261   277 

Learning  .\nc.  &  Modern    235 

Love  &  Gaiety     170 

Milton     247 

Milton's  Verse    60 

Modern  Gardening     21Q  271  272 

Power  of  Numbers     201 

Painting    97 

Pastoral  Poetry     235 

Peace  of  1783    98 

Poetry    (ShcfTield)      163 

Pope    (Warton)     66    170    194-19.5  204 
234 


Studv   (Clark)     179 
Styles  of  Poetry     ii8 

S\vrft   194 

Tatler,  Etc.     258 

Translated  Verse     56  164 

Truth    iBeattie)      42  209  211   230  239 
241  266 
Essays  of — Blackmore     11 

Collins,  J.  C.     119  156 

Dryden     146-147  150  247 

Knox,  V.  q.  V. 

Milton.  &c    47-48 

Moor     198 
Euphrosyne     72  95  96 
Examen   Miscellaneum     162 
Excellency  of  Free  State     174 
E.xcursion,  The     106 
Existence  of  God     2,30 
Expected   Invasion     106 
Explanatory  Notes  on  P.  L.     16  30  123- 

124  179 
Expl.  Note  on  Allegory     i^S 
Extracts   from    P.   L,    ( Wesley)    27  218 
221 

Fable  of  the   Bees     158 

Fables    (  Dryden )      29 

Faerie  Queen     20 

Familiar  Expl.  of  P.  L.     107  257 

Familiar   Letters     44 

Farewell   Hymn     76 

F'arewell   to  Summer     92 

Father's   Revenge     98 

Female   Conduct     83 

Female  Advocate     14S 

Fleece,  The     82 

Forwardness  of  Spring    90 

Four  Elegies    84 

Freeholder     153 

Freeholder's  Grand  Inquest     142 

I'ree-Thinker     261 

Furius     189  191 

Garden,  The     109  272 

Garden   Inscriptions     90 

(iardening  Titles     26S-27:^ 

(ienius     86 

(jenius  of  Milton    81 

Gentlemen's   Magazine     12  22  29  n,9  42 

177   ff.    184    185    186   IT.    190   191   260 

270  274  275  277 
Genuine  Remains     14  53  113  182 
Gift  of  Poetry     64 
Government   (Locke)     175 
(iravo,  The     20  202 
Gray's  Inn  journal     27,s 
Great  Natural  Geniuses     154 
Gk.    Trag.  of  Burton  Reviewed     172 
Greenfield   Hills     104 


397] 


GENERAL   INDEX 


305 


Grotius  on  Christ's  Passion     185 
Grotius  on  Sacrament     18=; 
Grub  Street  Journal     177 
Guardian   Papers     153 

i 
Harleian  Misc.     45 
Harmony  of  Language    231 
Harmony  of  Spheres     ,<<:  127 
Heads  of  Gr.  Britain    124 
Heriade     194  196 
Herod  the  Great     127  n.27 
Hind  &  Pantlier  Transposed     145 
Hints  toward  Life  of  Bentley     178 
Hirlings     44-45 
History  of — 

Britain    44  4S  47  iig  i/S  2.S1 

Gr.  Brit.  &  Ire.     29 

CompafSlu'e  Literature     246 

County  of  Kerry     270 

De  !a  Litterature     17 

Eighteenth  Cent.  Lit.    20 

England  (Hume)   130-1.31  251 

England   (Macauley)     133 

English  Drama     185; 

Eng.  Lit.  in  i8th.  Cent.     13  28  222  258 

English  Poetry  (Courthope)     19 

English  Poetry  (Warton)     212  236 

English  Prosody     17  21 

Eng.    Romanticism      17    19-20    22    170 
222  230  237  268  269 

Eng.  Thought  in  i8th.  Cent.    221 

Eng.  Versification     22 

His  Own  Time   (Parker)     122 

Lit.  Crit.  in  Renaissance    247 

Milton   (Masson)     16  28  29  44  112  114 
138 

Minorca     9  184 

My  Own  Time   (Burnett)     118  J14 

Puritans     122-123 

Sin  &  Heresy     148 

Thomas  Ellwood    no  144 
Hobbes   (Stephen)     146  223 
Hop-Garden     78 
Horae  Lyricae    254 
Humble  Address   (Law)     184 
Hymn  to  the  Naiads    261 

Icon  Basilike     ii"  142 

Iliad   (Pope')     159  205;  231 

II  Paradiso  Perso    261 

II  Tasso,  A  Dialogue    262 

Imaginary  Conversations     21  •! 

Imaginary  Visit  to  Parnassus     30 

Imitation  of  Horace    63  78 

Imitation  of  Juvenal     90 

In  Miltonum     269 

In  Paradisum  Amissam     53  144 

Independent  Whig     174 

Index  to  P.  L.    q.  v, 


Indian  Observer     236 

Inferno   (Boyd)     262 

Inf.   Philos.  on  Fine  Arts     198 

Inner  Temple  Masque    212 

Inscription  to  Moulton    274 

Inspiration  of   Poetry     262 

Installation  Ode     92  171 

Irene     76 

Isle  of  Pines     175 

It  Is  Not  To  Be  Thought  Of     106 

Italian  Poems    40-41  52  rf  126  210 

Jerusalem  Delivered     262 
Jesus  Grove    270 
Jewish   Bard    96 
John    Dennis     149 
Julii  Mazirini     40 

Knowledge,  an   Ode     79 

La  Vita  di  Tasso    263 

Ladies'  Library     157 

Last  Day,  The    91 

Last  Fruits     no 

Laureate,  The    87 

Laws    of    Poetry      150    160   162   163    165 

257 
Lawyer's  Farewell     70 
Lay  Monastery    157 
Lectures  on  Eng.  Poetry    258 
Lectures  on  Rhetoric     199 
Leonidas     180  200  201 
Les  Saisons     271 
Letter  of — 

Cowper  to  Bagot    234 

Anon,  to  Bavius     177 

Anon,  to  Leland     199 

Anon,  to  Mason  on  Ode    274 

Anon,  to  Warton     21  •; 

Atterbury  to  Pope    127  142  144  15S  159 

Clarendon  to  Gauden     142 

Fenton  to  Broome     121 

Gray  to  T.  Warton     182 

Gray  to  Nicholls     225 

Gray  to  West     206 

Hill  to  Richardson     143 

Lauder  to  Douglas    191 

Walpole  to  Montagu     12 

Richardson  to  Cave     191 

Swift  to  Wogan     174 

Ritson  to  Walker     263 

Tyrwhitt  to  J.  Warton    234 

Wotton  to  Milton     141 

Cowper  to  Urwin    57  212  213 

Burnet  to  G.  Baker     215 
Letters  of — 

Aikin     138  235  273 

Benson.  On  Poetical  Tr.     164  180 

Berkenhout     137 


306 


THE    MU.TON    TR.U)ITION 


[398 


Burnet    214 

Chesterfield     183 

Compte,  Critiques     127 

Cooper,  on  Taste     194 

Dennis,  q.  v. 

Evremond     141 

Grav     218 

Hagley  Park   (On)     211 

"Heron."  of  Lit.    217 

Johnson     193 

Locke,  on   Toleration     17; 

Milton,  of  State    44  116  143  1S3 

Montagu     219 

Seward     216 

Walpole   (H)     12  219  253 
Life  of— 

Addison   (  Johnson ")     257 

Bacon   (Sclden)     241 

Blacklock   (Soence)     254 

Canioens  (Mickle)     224 

Chas.   L  &  II.,  James    1   &   II.  Crom- 
well   iilarris)      132-133 

Cowley  (Johnson)     142 

Cowper   (Havley)     232  2-?i 

Cromwell   (Leti)     22^ 

Dry  den    (Scott)     217 

Fenton   (Johnson)      120 

Goldsmith   (Foster)     29,   (Prior)     196 

Grotius     192 

Jesus  Christ  (S.  Wesley)     159 

Jolmson  (Boswein     19.5  ( r:)rakc)     191 

Parnell   (Goldsmith)     206 

Pope  (RufFhcad)     232 

Sheffield    (Johnson)      55 

Tasso     263 

Thomson   (Cibber)     2^' 

Tillotson   (Birch)     174 

Washington    ( Sparks)     .16 

Williams  (Macket)     112 
Literary  Hours     216  220 
Lit.   IThistrations     42  190 
Lives  of — 

English  Poets  (Cibber)     129 

I'.nplisli   Poets   (Jacob)     31 

English   Poets    (Winstanley)      115    146 

Phillipses  ((iodin)     16  113  144 
Lives  of  Milton — (v.  "Contents") 

Anonymous      113-114 

.'\nderson     I3f)-i37 

.Vuhrev     112  113  115  14.1 

Bell     IM  1.37 

Birch     16  44  11"  124  137   141    1(4   LSS 
168  175  180  183  274  2~/ 

Cibber     1 29 

Evans     137 

I'-cnton     120-121    14.C   168  275 

Garnett     17  43  44 

Haylcy     i.S  13"  22=  26; 

Jacob    31   1 19-120 


Johnson  16  28  29  31  46  98  127  128 
134-136  137  174  179  183  196  209  212- 
215  219  222  233  260 

Langbaine    115-116141 

Masson     16  28  29  44  112  114  138 

Xewton    29  128-129  172  251  277 

Pattison     171 

Peck    45  127  168  172  180 

Phillips    44  46  116  143  144 

Richardson  16  27  30  123-124  125  139 
104  16S  179   181   259 

Todd     16  53  55  56  137  142  218  263  276 
•  Toland    44  47  116-118  125  141  143  160 
175  192  224  259 

Whin  con     127 

Winstaiilev     114  115  n6 

Wood     lie  ti3  115  120 
London  1802     106 
Longinus  on   Sublime     150   155    156   180 

197 
Looker-On.  The    237 
Ld.  Chatham's  Prophecy    92 
Ludicrous  Miltonic  Verses     95 
Ludlow     94 

Ludlow  ^lasque  (Comus)     37 
Lusiad  cMickle)     236  252  262 

Macarius    91 
Man  of  Taste    67 
Manifesto    44 
Medea     210 
Memoirs  of — 

Cromwell  (Peck)     127  180 

IloUis   (Brand)      17=; 

llur<l   (Darb.)      178  258 

Jortin    ( Disney)      180 

Ludlow     174 

Milton  (Peck)  v.  "Lives" 

Steele   (Montgomery)      ISI 

\'oltairc    (Goldsmith)    196 
Memory  of.  To  the — 

Congrcve     67 

Handel     85 

Mason      105 

Milton     64  254 

Philips,   J.     62 

.Shenstone    87 

Waller     56 

Washington     6l 
Microcosm     14  15  215  258 
Milton- 
After  300  ^■ears     14  252 

And  .\rist.  Def.  Trag.     247 

.'\s  .\n  Historian     45  251 

In  the  18th.  Cent.     17  21   144 

Xo  Imitator  of  Masenius     187 

Xo  Plagiarv     101  n.So 

Restored    (Swift")     1 78 


399] 


GENERAL   INDEX 


307 


Milton's — 
Alcove     QO 

Borrowing  fr.  Ancients     i8o 
Early  Reading    26.'^ 
Fame  on  Continent     21    i "" 
Garden   of   Eden     2,^ 
Ghost     loi 

Poems  on  Se\'.  l^cc;.     32  ,vt  .(o  47  51 
52   IIS   1-26   14"   T41    142  167   170-173 

215 
Poems    (T.   W:irton)      16  39  40   140- 

141  1^;=;  168  215  23,i  227  278 
Tomb,  For     74 
Versilication     193 
Mirror,  The    211 
Miscellany   (Dryden)     37  38  40  142  147 

168 
Misc.  Letters,  &c.  (Gildonl     150 
Modest  Plea    255 
Monody  on  Dr.  Warton     106 
Monthly  Review     14  42  48   132   137   175 

181   190  191   197  202  203  204  206  207 

210  214  215  232  253  254  25.S  257  258 

262  271  272  277 
Mourning  Muse     141 
Musaeus     71 
Muse's  Blossoms    92 

Nation,  The     14 
Nature  of  Man     63 
Nature  &c.  of  Criticism     147 
Neglect  of  Poetry     91 
New  Bath  Guide    90  232 
New  Castle  Beer     171 
New   Hypothesis     184 
News  from  Parnassus    6t 
Night  Thoughts     20  72  84 
Nuptial  Liberty     183 

Observations  on — 

Anc.  &  Mod.  'Language    48 

English  Metre     206 

Fairy  Queene     194 

Hume's  History     n,i 

Modern   Gardening     270 

Original   of   Government     183 

P.  L.   Pub'd  in   1725     177 

Poetry     201 

Poetry  and  Music     200  206-207 

Pope   (Wakefield)     232 

Shakespeare   (Upton)      182 

Zoonomia     255 
Observer,  The     210 
Obstructors  of  Justice     122 
Ode— 

In   Praise  of  Music     157 

On  Melancholy    84 

On  Poetical  Character    75 

On  St.  Cicilia's  Day    39  172 


On  Sleep     79 

To  A  Gentleman    73 

To  Earl    of    Corke     81 

To  Edwards     78 

To  Health     73 

To  Huntingdon     73 

To  Hymen     103 

To  Ld.  Edgecomb's  Pig    92 

To  Memory    81 

To  Sicily     iio 

To  Sleep     71 

To  The  Muse     72 

To  The  Muses    ''8^ 

To  The  Queen   (Congreve)     63 

To  The  Queen   (Prior)     251 
Odes  of  Gray  Reviewed    204 
Odvssev   (Pope)      mo 
Old  Maid,  The     173 
Oliver   Cromwell    ( Green  I      181,    (Mor- 

ley)     223 
Olio   Podrida     15 
On— 

A  Flower    269 

A  Monument  to  Churchill    87 

A  Sermon  against  Glory     73 

Bathurst's   Park     270 

Bust  of  Milton     103 

Cobham's  Garden    270 

Critique,  The     64 

Dryden's  Virgil     60 

English  Poets    93 

Gainsborough     9t 

Gray  in  W-Abbey    92  275 

Honor     70 

Johnson's  Dictionary    80 

Late  Discontent     57 

Late  Indecent  Liberties     276 

Leonidas     210 

Marriage  of  the  King     84 

Paradise  Lost  (Marvell)     53  60 

Reprinting  Milton's   Prose     59   116 

Rhyme    86 

Seeing  a  Lock  of  Milton's   Hair     107 

Some    Late    Attempts    to    Depreciate 
Milton     187  n.8i 

W.  L's.  Charge  Against  Milton     186 

Origin  and  Merit  of  Rhyme     2?i 
Origin  and.  Progress  of  Satire     141   147 

163 
Origin  of  Comus    .30  212  216 
Origin  of  Paradise  Lost     137  263 
Orlando  Furioso     263 
Oxford,  A  Poem     62 

Paidotrophia     263 

Paradisi  Amissi     43 

P.  L.  Imitated  in  Rhyme     103 

P.  R. ;  or,  Art  of  Gardening    270 


308 


THE    MILTON    TRADITION 


[400 


Paradise  of  Taste     105 

Paradise  Restored    221 

Paraphrase  of  Canticles     145  162 

Passionate  Madman     173  216 

Pastoral  Poetrv     lO-i 

Peace  of  Aix  La  Chapelle     74 

Phebus  and  the  Shepherd     qi 

Philos.  of  Rhetoric     211 

Phrasiuin  Poeticaruni  Thesarus     144 

Pictures  of  Poetry     ids 

Pillars  of   Priestcraft     174 

Plato  Redivivus     175 

Pleasures  of — 

A  Garden    269 

Imagination   (Addison)      154 

Imagination    (Akenside)     72 

Melancholy     72 

Pocket  of  Prose     214 
Powers  Court  House    270 
Poems  of — 
Blacklock     254 
Crashaw     262 
Gildon    40 
Gray    253 
Ossian     170  232 
Ramsay     141   187 
Say    42  60  201 
Smart     39  173 
Sterling    41 
Surrey     206 
Waller     165 

For  Young  Ladies     212 
Poetical — (v.  "Epistle") 
Calendar     55 
Imitation     211 
Miscellany     212 
Register     iig  144 
Scale     195-196 
Pope   (Paston)     20 
Portraiture  Sacred  Majesty     122 
Postscript  to  Otrvssey     159 
Power  of  Beauty     76 
Praise  of  Blank  Verse     166 
Praise  of  Isis     171 
Preface  to — 
All   for  Love     162 
British   I'nchanters     165 
Kpigoniad     198 
l'"al)lcs     147  261 
llorac  Lyricae     164 
Iliad   (Pope)     158 
Lauder's  Essay     igi 
Milton's  Poems     126  141 
Misc.   Works     158 
Poems  (Duncomhc)      168 
.Solomon  on  Vanity     158  165 
Waller's   Poems     165 
Sylvia     147 


Prelude     106 

Present  State  of  Learning     206 

Prevailing  Taste  in  Poetry    233 

Prize  Verses    68 

Progress  of — 

Corruption     74 

Envy    77 

Poesy    253 

Poetry     104  212 

Romance     262 
Prologue  to — 

Comus     76  277 

Orestes     163 

Pastor  Fido     163 

Philaster     264 

Public  Readings     107 
Pro  Populo  _  43  46  122  143 
Prose  Work's,  v.  "Milton" 
Puritanism  &  Eng.  Lit.     239 
Ranibler    Papers     172    181    191    193   236 

257 

Rape  of  the  Lock    261 
Reading  of  Classics     160 

Reason  for  Church  Gov'mt     126  247 

Receipt  for  an  Epic  Poem     159 

Recovery  of  Man    32  218 

Reflections  (Dennis)     150 

Reflections  on  .-Xmynlnr     117  n.io 

Religious  Musings     104 

Religious  Titles     259-260  263-265 

Relique  llearnianae    251  259 

Remarks  on — 

Beauties  of  Poetry     198  207 
Johnson's  Milton     21  46  47  48  174  213 

La  Diet.  Historique     125 

Paradise  Lost     107 

P.  L.    (Shenstone)     179 

Poetry     107 

Spenser's  Poems     179 

Toland's  Milton     117  n.io 

Voltaire's   Essay     146 
Renaissance     253 
Repentance     101 
Reply  to   Parker     143 
Republic  of  Letters     19 
Resignation     206 
Resurrection     127 
Retaliation     182 
Retirement     107 
Review    of    Poetrv      105 
Review   of  Text  of    \\   L.     178 
Revolution,  A   Poem     94 
Rev.  Fr.  et  Poetes  .Xnelaise    20 
Rhapsody    to    Milton      69 
Rich.  Corresp.     166  175  182  193 
Rights  of  Man    226  n.54 
Rise    &    Progress    of    Present    T.isle    in 
Parks    271 


4011 


GENERAL   INDEX 


309 


Rising  Glory  of  America    gS 
Romish   Horse-Leech     175 
Rousseau,  J.  J.     229 
Rout,  The     171 

Sabrina     ,^S 

Sacrifice  to  Ghost  of   Milton     5.t 

Samson  Agonistes     u  247  J45 

Sarcotis     186  191 

Scales  of  Mod.  Beauty  &  Talent     195 

Scandberg     127 

School-Mistress     69 

Scriptum  doni.  Protectoris    44  45 

Sea-Pieces    67  190 

Seasons   (Mendes)     78 

Seasons   ( Thomson  1      19  67  269 

Self-Conflict     145 

Serius  Call     184 

Serins   Inquiry   into  Ext.    Religion      174 

Sermons   (South)      112 

Seventeenth  Cent.  Notices  of  Milton    17 

Shak.  &  Milton     no 

Shakespear  in  Couplets     163 

Shepherd's  Pipe    212 

Shepherd's  Week     157 

Short  View     148 

Sickness    71 

Sine  Cure    66 

Situation  of  Paradise     145  268 

Sketches     172  205 

Sketches  of  Eng.  Verse     172 

Smectymnuus     237  247 

Soliloquy   (Blacklock)     254 

Solitude    88  269 

Sonnet  on  Leaving  B-x-n    182 

Sonnets     lo  116  173  182  183  210  233  252 

Specimens  (  Campbell )     18  21 1  254 
Spectator  Papers   (Addison)      11  47   141 

151-155  252  256-259  261   269;    (  Bud- 

gell)   157  257 
Stanzas  on  Milton    276 
Stanzas  to  Bentley     78 
State  of  Innocence    54  56  147  151  163  181 
State  Worthies     115 
Student,  The     184 
Sublime  and  Beautiful     igS 
Sur  la  Liberte  de  la  Presse    46 
Table  Talk    96  234 
Tableau.x  tires  I'lliad     198 
Task,  The    234 
Taste    79 

Tatler  Papers    30  31   151-152  153 
Tears  of  .Affection    212 
Telem.achus    232 
Temple-Student    87 
Temptation.  Sermon  on     184 
Theatrum  Poetarum     144  164  247 
Theocritus    235 


Theorie  de  la  Royaute    47 
Thoughts  on  Rhvme,  &c.     203 
Three  Treatises    201 
To— 

A  Child     78 

About  to  Publisli    80 

A  Lady    68 

A  Lady  with  P.  L.     69 

A  Young  Lady    66 

Anne  Conolly     79 

Bindon,  Mrs.     70 

Cholmondoley    66 

Countess  of  Dorset     58 

Courteous  Reader     157 

Cyriack  Skinner     116  252-253 

Delia     (Hammond)      70,     (Pom  fort) 
I.S7 

Flavia     56 

Fortune     100 

Judas  Iscariot     11 

Lady  Dursley     57 

Lady  Spencer    210 

Lord  Melcomb  86 

Lysander     83 

Master  H.  Archer    65 

Mr.  J.  Milton     53 

Mr.  Mitchell     66 

Mr.   Pope    (Harte)     66,    (Middlesex) 

Mr.  Richardson     175 

Reformer,   The     177 

Sleep,  Over  P.  L.     107 

Watts,  Dr.     65 

Wordsworth    no 
Tractate     43  46  47-48   174   2n    219  223 

246-247  265-268 
Tragedies  of  Last  Age     146  162 
Traite  du   Poeme  epique     155 
Traveller,   The     177 

Treatment   Nature   in   Eng.   Poetry     268 
Triumph  of  Isis     75 
Triumph  of  Nature     70 
True  Patriot,  The     12 
Two  Epistles  on  Happiness     184 
Two   Epistles  to    Pope     67 

LInder  Busto  of  Comus     170 

Under  Milton's  Tomb     74  274 

Upon  Bentley 's  Emendations     178 

Upon  Losing  P.  L.  at  Luss     82 

Utopia     242 

Verbal  Criticism     178 

Verses — 

After   Passing   Thru   Finton     91 

(Against  Lauder)     189 

(Favoring   Lauder)      190 

On  Peace  of  1783    85 

On  Warburton's   Pope     191 
Viceroy,  The    85 


310 


THE    MILTON    TRAD1TK)N 


[402 


Vindication  of  K.  Clias.  I.     191 
Vindication   of  Milton — 

From  Arianism     260 

From  Charges  of  Lauder     \Sg 

In  Paradise  Lost    150  253 
A'ision,  A     184 
Vision  of — 

Death     91 

Judgment     109 

Patience     168 

Purgatory     144 
Voltaire.  &c.  in  England     156 

Way  of  Teacliing  Language    47 

Whist     103 

Winsor  Forest     63 

Wish,  The    81 

Wit  and   Hcautv     184 

Works  of— 


Fletcher      173    196    204 


269 
236  : 


.\ddison     256 

Barbauld     14 

Beaumont    & 
216 

Browne     212 

Cowper     41  52 

Dryden     147 

Harris,  Jas.     201 

Johnson     185  191 

Pope,  q.  V. 

Rapin   (with  Preface) 

Spenser     15  193 
Temple  ( Swift)     146  159  179 
Tliomson     14 

Watts   (Posthumous) 
World,  The  30  268  271 
Wrongs  of  Africa     100 

Zoilomastix     182  189 


164 


230 


2777     2 


Wl 


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